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THE J. PAUL GETTY MUSEUM LIBRARY 


a 


Dystic ye 


CATALOGUE 


of a 


Loan Exhibition 
of 


FRENCH PRIMITIVES 


and 


OBJECTS OF ART 


in aid of the 


FRENCH HOSPITAL 
in New York 


By E. M. SPERLING 


Preface by Louts Reau, Editor of 
the Gazette des Beaux-Arts 
in Paris 


TOS) 


F. KLEINBERGER GALLERIES, Inc. 
P2-EAST 54th STREET, NEW YORK 


OCTOBER 1927 


sa |HE EXHIBITION IS HELD UNDER THE PATRON- 


#47 AGE OF THE GOVERNMENT OF THE FRENCH 


D 


é 8 REPUBLIC, AND ITS CONSUL GENERAL IN 


C 


= 


NEW YORK, MR. MAXIME MONGENDRE, HAS BEEN 
DELEGATED TO OFFICIALLY INAUGURATE THE EX- 
HIBITION ON OCTOBER 15TH, 1927, AT 2 O'CLOCK P. M. 


Penge ene Gilt 


The Exhibition of French Primitives, organized for 
the benefit of the French Hospital of New York, to 
celebrate the inauguration of the Gothic building 
where the F. Kleinberger Galleries are now established, 
is a proof of French-American solidarity and at the 
same time an artistic manifestation of exceptional 1m- 
portance. It is the first time that the occasion has 
been presented in America to see a collection of such 
a considerable number of paintings of a School which 
was almost unknown some twenty years ago, in spite of 
the fact that its masterpieces are to the highest degree 
apt to sustain the comparison with the Flemish and 
Italian Primitives. 


The popularity of the Italian ‘“Trecentistes” and 
“Quattrocentistes”’ from Giotto to Botticelli is rela- 
{ively ancient, for it can be traced up to the “Pre- 
Raphaelites” of the beginning of the x1xth century. 
Influenced by the writings of Ruskin, who was the 
most prominent professor of esthetics of his time, not 
only in England, but in all Europe, the admiration for 
these Primitives reached such a degree that it became 
some sort of an intolerant and blind idolatry of which 
even Raphael was sometime the victim. Without be- 
ing as exclusive, the admiration of the Flemish Primi- 
tives, with which the German Primitives were gener- 
ally associated—forerunners of Rubens and Rembrandt 
—has manifested itself with ardor since the epoch of 
the Romanticisme and has never ceased to progress. 


Why did the French Primitives not profit at the 
same time by the movement which led all art lovers to 
the origins of painting? Reflecting upon it, we are in 
the presence of a very strange phenomenon. Our roman- 
tic writers are full of enthusiasm for the Medieval archi- 
tecture; they bring in vogue the Gothic style without 
laying stress upon the fact that it was French; Victor 
Hugo writes his famous novel Notre Dame of Paris; 
but none of the writers is interested in the old paintings. 
The French Primitives are silently overlooked as if 
they had never existed. Our historians of art strangely 
agree to fix the beginning of the history of French 
painting in 1532 with the appearance of the Italian 
Primaticcio at Fontainebleau. Some of them carry its 
birth only to the first half of the XVIIth century, to 
Nicolas Poussin. 


eel 


However, it was very difficult to believe that a 
country like France, which had been, throughout the 
Middle Ages, the most brilliant hearth of art in Europe, 
spreading all over the world that admirable Gothic 
art, the real name of which ought to be FRENCH 
Art, should have waited until the XVIIth century to 
bring forth a school of painters worth while mention- 
ing. In truth, our artists were capable of carving on 
the portals of the cathedrals of Chartres, Amiens, or 
Reims masterpieces worthy of comparison with the 
purest marvels of Greek art. Our manuscript colorers, 
our glass painters had a universal reputation and were 
desired even as far as Italy. Is it possible that in that 
glorious epoch we should not have had artists capable 
of decorating a wall or painting a portrait? The im- 
probability of such a hypothesis is evident and should 
have made all serious minds think. 

The development of stained glass had doubtlessly 
replaced little by little the mural painting 1n the Gothic 
churches, and transformed them into real frames of 
colored glass. Still, many of our chapels of the XIVth 
and XVth centuries were adorned with frescoes, and 
new ones are constantly discovered under the plaster 
that hides them. At Avignon and at Dijon, which 
were, after Paris, our two largest art centers at the end 
of the Middle Ages, magnificent altar-pieces remained, 
executed for the Popes and the Dukes of Burgundy. 

Thanks to these monuments that attracted more and 
more the attention of the historians, the question was 
raised whether the generally admitted theory, accord- 
ing to which the French painting dated only since the 
Renaissance, was not a great error. It was then 
that the memorable Exuisrrion or Frencu PRrimt- 
TIVES was organized in Paris in 1904, triumphantly 
showing, in a manner to convince even the most 
skeptical, that there existed a brilliant School very 
much anterior to the School of Fontainebleau, the 
works of which were not inferior to the ones of the 
Italian or Flemish Primitives and which possessed at 
all events a very marked originality. Suddenly, the 
true origins of the French painting were carried back 
two centuries, from the XVIth to the XI Vth century. 

This revelation could not leave the Museums indif- 
ferent. In consequence of the Exhibition of 1904 the 
Louvre, aware of its gaps and in order to complete 
its collections, hastened to acquire some of the master- 
pieces of French Primitive painting; among others the 


[10 ] 


famous Pied of Villeneuve-les-Avignon, of so pathetic 
an accent, the portrait of the apothecary Pierre Quthe, 
the only portrait signed by Francois Clouet, and very 
recently a Resurrection of Lazarus by Nicolas Froment. 

Would America, that possesses already many capi- 
tal works of Primitives of all Schools, follow this 
example and take interest also in these French Primi- 
tives, yet little known and not brought into vogue by a 
Ruskin? A doubt was permissible, for even France, 
had taken a long time to discover these treasures of 
her own past. However, after a few years of hesitation 
a movement was started. Little by little one saw the 
Museums of New York, Chicago, Saint Louis, Detroit 
disputing to the great collectors, such as Mr. John G. 
Johnson, Mr. Martin A. Ryerson, Colonel M. Friedsam, 
whose collection alone has 46 French Primitives to its 
credit, Mr. Mortimer L. Schiff, Mr. Arthur Sachs, and 
many others, important works of this School at. Sales. 

In view of such facts one may say that the battle in 
favor of the French Primitives won in Paris in 1904 is 
today gained also in the United States of America. 

It is to celebrate these magnificent results, to which 
they have contributed more than anybody else, that 
the F. Kleinberger Galleries organize today in their 
new French Gothic building which is so proper for a 
manifestation of this kind, an Exhibition that will 
mark a second triumphant étape in the long process 
of rehabilitating the French Primitives. 


The paintings exhibited here for the delight of the 
amateurs and the instruction of the scholars are of the 
X1IVth, XVth, and XVIth centuries. It is thus pos- 
sible to follow the whole evolution of French painting, 
beginning from the Middle Ages until the end of the 
Renaissance. 

It is understood that the works of our “Trecento” 
are very rare. The Louvre possesses the two most im- 
portant ones: the portrait of King Fean le Bon, painted 
about 1360, probably by Gerard d’Orleans, and the 
Parement de Narbonne, attributed to André Beauneveu, 
showing the efhigies of King Charles V and his wife, a 
fact which permits to date the painting at about 1374. 
The most remarkable work of the end of the century is 
the marvelous Triptyque de la Chartreuse de Champmol, 


[11] 


the necropolis of the Dukes of Burgundy, which is the 
pride of the Museum of Dijon, but though it had been 
painted in France, it may be claimed by the Flemish 
School, for the author, Melchior Broederlam, was a 
Fleming from Ypres. : 

The Exhibition organized at New York will show to 
its visitors some curious panels attributed to Jean 
d’Orleans, son of the painter of Jean le Bon, repre- 
senting two scenes of the Legend of Salome, asking 
for and receiving the head of Saint John Baptist (Nos. 
1 and 2 of this catalogue). 

There are two other very characteristic examples 
of this archaic epoch: a group of Magian Kings belong- 
ing to the School of Avignon (No. 3) and a Predi- 
cation of the Infant fesus in the Midst of the Doctors, in 
which the picturesque style of Jean Malouel, favorite 
painter of the Dukes of Burgundy, may be recognized 
(No. 10). 

From the XVth century on, the conserved works 
become much more numerous, and in spite of the dis- 
asters caused by the Hundred Years’ War, the School 
of French painting proves to be of surprising va- 
riety and fertility. To tell the truth, the role of Paris, 
which had been so preponderant during the XIIth cen- 
tury, had very much diminished at this epoch. Other 
art centers were formed in the region of the Loire, par- 
ticularly at Tours, which became the favorite residence 
of Louis XI, in the Provence where Avignon, the city 
of the Popes, and Aix, the capital of King René, held 
the first rank, and finally in Burgundy and in French 
Flanders, joined under the same domination, where a 
French-Flemish School developed at Dijon, at Douai 
and at Valenciennes. 

The Exhibition presents capital or characteristic 
works of these three principal groups. 

The beautiful portrait of King Louis.XI by the most 
famous master of the School of the Loire, Jean Fouquet, 
the most illustrious of the French Quattrocentistes, por- 
trait that has been loaned by Colonel M. Friedsam 
(No. 12 of this catalogue), will be especially admired. 
It is a precious iconographic document from the famous 
Cabinet formed at the end of the XVIIth century by 
Roger de Gaigniéres, to whom the Louvre is indebted for 
the portraits of Jean le Bon and most of the French 
Kings of the Valois dynasty. Beside Jean Fouquet, the 
best representatives of this so purely French School of 
the shores of the Loire are Jean Bourdichon, who was 
also an exquisite colorist, and Jean Perreal, who is iden- 


[12] 


tified today with the mysterious Maitre de Moulins 
and whose masterpiece is the large triptych at the 
Cathedral of Moulins in the Bourbonnais. On the 
panels belonging to Colonel M. Friedsam (No. 34) and 
Mr. Ryerson (No. 35) one again finds the limpid col- 
oring of this artist of calm and somewhat mellow tem- 
perament reflecting the climate of the Valley of the 
Loire. 

The School of Provence, the meridional character of 
which is betrayed through sharper lines and a more 
dramatic accent, is less strictly French, for it under- 
went the influence of the nearby Italy and of the 
Flemings who came down the valley of the Rhone. The 
principal names illustrating this School are Enguerrand 
Quarton, the author of the charming Virgin of Miseri- 
cord of the Condé Museum at Chantilly; Nicolas Fro- 
ment, who painted in 1475 the triptych of the 
Burning Bush for the Cathedral of Aix; Louis Brea 
of Nice, and above all the anonymous author of the 
grand Puieta of Villeneuve-lez-Avignon, today at the 
Louvre. A curious picture which presumably rep- 
resents The Sanctification of a Woman by One of 
the Avignon Popes, with the buildings of Avignon 
(No. 5), permits to distinguish the great difference 
between this Provencal art and the lovely, smiling 
grace of the painters of Touraine and the Bourbonnais. 

The influence of Flanders which is already very ob- 
vious 1n Provence, is even more pronounced in the 
Schools of Burgundy and the North of France. It is a 
known fact that the Dukes of Burgundy had invited 
to Dijon a whole colony of Flemish painters, the best 
known of whom are Melchior Broederlam and Jean 
Malouel. On the other hand, Simon Marmion and 
Jean Bellegambe at Valenciennes or at Douai were in 
close contact with their neighbors of Flanders and could 
not escape the influence of the Masters of Bruges and 
Antwerp. That is the reason why this School has a 
somewhat hybrid character and why it is sometimes 
dificult to decide with certainty whether a work is 
French or Flemish. In this respect the artistic frontier 
seems to be as indeterminate and floating as is the 
political one. 7 

However, it is principally the provenience of the 
paintings that permits us to assert their French origin. 
So we know that the very interesting panels of the altar- 
piece acquired by Mr. Ryerson (Nos. 25-31) were 
painted for the Chartreuse of Saint-Honoré at Thuison 
near Abbeville: moreover, this origin is confirmed by . 


Lele 


the presence of two Saints who appear on the back of 
the wings and who were particularly venerated by the 
Chartreux: Saint Honoré, bishop of Amiens and Saint 
Hugh, bishop of Lincoln, with the large white swan 
and the chalice—out of which emerges the Infant Jesus 
—attributes of the Saint. These panels which have 
been sawed apart and the principal subjects of which are 
the Virgin and Child, the Lord’s Supper, the Ascension, 
and the Pentecost, may be attributed, without risk of 
error, to the School of Amiens. The architectural back- 
grounds of a flamy style indicate the end of the X Vth 
century. 

It is equally to the School of Northern France that 
one must attribute a very remarkable Diptych, dated 
1451 and coming from the former Levesque collection 
(Nos. 15, 16 and 17). In the lively figures of the dona- 
tors kneeling before their patrons, Saint Peter, cruci- 
fied with his head down and Saint Anthony kneeling, a 
certain stiffness, recalling the tapestries of Arras, has 
been justly remarked. On the other hand, the very 
minute technic is the same as in the colored Illumi- 
nated Manuscripts, and we know that the art of minia- 
ture flourished in that region at the time. 

The most famous Master of this group, the one 
called by his contemporaries the “‘ Prince of Coloring,” 
is Simon Marmion, born at Amiens, who worked at 
Valenciennes in the second part of the X Vth century. 
It is to him that Mr. Max J. Friedlander gives with 
utmost assurance the charming Madonna (No. 18), 
that so much delighted all the connoisseurs at the 
recent Exhibition of London. 

Jean Bellegambe of Douai is, like Simon Marmion, a 
French-Flemish painter, but he belongs to another gen- 
eration. He died only in 1535 and is connected, there- 
fore, at least partly, with the Renaissance. The archi- 
tectural backgrounds of extreme richness are treated 
in his paintings, moreover, in the new ornamental style. 
His harmonious coloring resembles that of Gerard 
David and especially that of Quentin .Metsys. 

The Exhibition of New York will certainly draw 
attention to this too little known Master, for he will 
be represented with two of his most important works: 
The Conversion of Saint Paul (No. 41), exhibited at 
Brussels in 1902, and the beautiful triptych of the 
Adoration of the Virgin, painted in 1533 for the Abbey 
of the Cistercians or Bernardines of Flines near Douai. 
One of the wings of the triptych, (No. 40), represents 
the popular scene of the vision of Saint Bernard re- 


[14] 


ceiving on his face a few drops of milk of the Virgin 
who is giving Her breast to the Infant Jesus. 

Excepting the decorative paintings of the School of 
Fontainebleau, which cannot be transported and which 
it is almost impossible to study today, because most 
of them have been destroyed or repainted, the French 
School of the XVIth century shows only painted or 
designed portraits. In no other epoch had the contin- 
uous intercourse of the French School between Italy 
and Flanders been more marked. While the models 
for the decorative painting, under the impulse of Prim- 
aticcio and Rosso, were taken from Italy, the portrait 
painting was inspired by Flanders. Its chief represen- 
tatives came from Flanders. Jean Clouet, probably 
originated from Brussels, and Corneille de Lyon was 
first known as Corneille de la Haye. 

Jean Clouet, called Janet, was the favorite painter 
of King Francis I. He revived the prematurely tired 
features of the King in the portrait (No. 45) and also 
painted the excellent portrait of Guillaume Gouffier, 
Sire de Bonnivet, which passed from the Richtenberger 
collection to the Museum of Saint Louis (No. 47), 
and a lively efigy of a Prince of the House of Savoy, 
decorated with a necklace of the Order of the Annun- 
ciation, (No. 44). 

The son of Jean Clouet, Francois Clouet, also sur- 
named Janet, inherited the commission and became the 
regular painter of King Henry II and of his successors. 
He was considered by his contemporaries the first of the 
French painters, and the poet Ronsard called him “The 
Honor of Our France’’. He is represented in this Exhi- 
bition with several works of first rank which justify 
his reputation. There is for instance: the portrait of 
Madame de Piennes, daughter of Admiral Chabot (No. 
53), the pencil study of which belongs to the British 
Museum; and the portrait of the young King Charles 
Px (No, 50). 

The name of Corneille de Lyon should not lead us 
to error: He was, as we have told, of Dutch origin, but 
he settled early in his life at Lyons, where he executed 
a great number of portraits, representing personages of 
the Court of the Valois. How could he paint these 
portraits living in the province, far away from the 
Court? Probably after the designs that he had made 
himself when staying in Paris or after the ones he bor- 
rowed from Francois Clouet. Be it as it may, these 

small portraits, painted with a light, transparent touch, 


re? 4) 


generally on a light blue or a watergreen background, 
are delicately exquisite, and it will be a pleasure to see 
on the walls of the Kleinberger Galleries this cortege of 
high personages and noble ladies of the Court of the 
Valois in their costumes of refined elegance and a some- 
time extravagant richness. All these portraits have 
been loaned by American collectors: Mr. Mortimer 
L. Schiff, Mr. Jules S. Bache, Mr. Ryerson, Messrs. 
Leo and Alexander Bing, and above all Colonel M. 
Friedsam, whose collection of Corneille de Lyon, is 
unequalled, even in France. 

Thus, summed up broadly, in a forcibly brief and 
incomplete manner, is the incomparable ensemble of 
ancient French art which will be presented in New 
York. Can anyone pretend, after such a brilliant dem- 
onstration, which would be all the more brilliant had 
it been possible to join to these paintings and Limoges 
Enamels the frescoes, the miniatures on parchment, 
and the glass paintings, that there are no French 
Primitives? 

Perhaps one might object that among these artists, 
some are of Italian or Flemish origin. But the paint- 
ings, framed in stucco and executed by Primaticcio at 
Fontainebleau, have no equivalent in Italy, and even if 
Jean Clouet and Corneille de Lyon came from Flanders 
or from Holland, they could paint only in France, at 
the Court of the Valois, those delicate portraits for the 
equals of which one would vainly search Bruges or The 
Hague. The French milieu transformed these for- 
eigners who acquired some of the qualities of Jean Fou- 
quet and of the Maitre de Moulins. 

The French Primitive School, which is so original 
and so varied, deserves, therefore, to be studied with as 
much love as the Italian and Flemish Primitives, and 
there is good reason to hope that the Exhibition of the 
F. Kleinberger Galleries will draw the attention of the 
art historians and of the American collectors to a 
School of the highest interest that has been ignored 
and unjustly neglected only too long. 


LOUIS REAU 
[16 ] 


JEAN D’ORLEANS 
(XIVth Century) 


JEAN D’ORLEANS was the son of Girard d’Orleans, 
painter of King John the Good, whom he followed to 
London in his captivity. There is attributed to Girard 
d’Orleans, the celebrated portrait of JEAN LE Bon that 
recently found its way from the National Library to the 
Louvre. From 1361 on, his son, Jean, succeeded him 
in his position at the court of Jean the Good, then at 
that of Charles V. It was for’ this’ princemtiacene 
painted his Madonnas, a diptych of the Virgin and 
Saint Catherine, an Annunciation. He also worked 
for the Duke of Burgundy. His son, Francis of Orleans, 
the third of this dynasty of painters, enters upon the 
scene in 1407. But Jean still continued to paint at the 
beginning of the fifteenth century, and lived to a good 
old age till 1420. It is possible that he was the author 
of the famous Parement de Narbonne preserved at 
the Louvre Museum, the masterpiece of French 
painting of the fourteenth century. 


BIBLIOGRAPHY 


Henri Boucuot: Primitive French Paintings, Paris, 
1904. 

Louis Diuter: History of French Painting, Paris, 
1926: 


JEAN v’ORLEANS 


No. 1. Satome AsxkinG For THE Heap or St. JouNn 
THE BaApTIsT 


ON PANEL 
Height, 3314 Inches; Width, 33% Inches 

King Herod is seated between the queen and his 
followers at his right and the chief courtiers at his left, 
before a table supported on trestles and covered with a 
white tablecloth on which the utensils and plates are 
reposing. In the foreground his daughter Salome, 
escofhon-coiffured and dressed in a gown with a long 
train, slit on the side, seems to be dancing while play- 
ing the violin. Before her a small page in tight breeches 
and coat seems to be devoting his entire attention to 


[18 ] 


her service and is holding a cup in his hand. A small 
black dog is sitting on the pavement of enamelled tiles 
and is looking at him. 

There are defects of proportion and perspective of a 
very pronounced nature in this scene and the following. 
One cannot help remarking the anachronism of the 
violin which Salome is playing as accompaniment in 
her dance. But this archaic awkwardness is not with- 
out charm. The physiognomies are very well observed 
and very individual, notably those of King Herod and 
his courtiers which are equivalent to portraits. 


Lent by Col. M. Friedsam. 


No. 1. JEAN v’ORLEANS 


JEAN v’ORLEANS 


No. 2. Satome ReEcEIvING THE HEAD oF St. JOHN 
THE BAPTIST 


ON PANEL 


Height, 33% Inches; Width, 33% Inches 


This is the second act of the tragedy. Salome has 
received what she wanted. Dressed inthesameslit gown 
as in the previous scene, she receives on a silver plat- 
ter the aureoled head of St. John the Baptist that the 
executioner has just cut off with a broad curved sword. 
Through the prison windows may be seen the clasped 
hands and decapitated trunk of the martyr whose 
blood is flowing on the steps. One of the followers of 
Salome makes a gesture of terror. An old man witha 
pointed cap and two soldiers clad in irons, with their 
lances in their hands, are present at the scene. They 
lean against the shutters of a fortress which, as well as 
the tower of the prison, is bristling with battlements. 
On the top of the wall, behind the battlements, three 
curiosity seekers may be seen. 

In this picture there is, like in the preceding one, a 
singular and tasteful mixture of very realistic observa- 
tion and a total ignorance of perspective and propor- 
tion. 

The prison where St. John the Baptist is beheaded 
reminds us somewhat of the one where St. Denis re- 
ceives the last communion in the picture of the Louvre 
Museum attributed to Jean Malouel and Henri 
Bellechose. 


Lent by Colonel M. Friedsam. 


[ 20 ] 


"ORLEANS 


JEAN pb 


2. 


Oo 


N 


SCHOOL OF AVIGNON 
(End of the XI Vth Century) 


INOW? THe THREE Maaci1 KInGs 


ON PANEL 


Height, 31 Inches; Width, 21% Inches 


In the right foreground the oldest of the Magi kings, 
bald, with a long pointed beard, half kneeling on the 
ground. He has his crown in his left hand, having 
taken it from his head to salute the Divine Child, and 
holds in his right hand a godroon vase in gilded work 
which he offers in homage. Behind him are standing 
the other two kings awaiting their turn. Both have 
their crowns on their heads and appear in identical 
gesture. With their right hands they are holding a 
gold vase while with their left hands uplifted, they 
express a sign of admiration and astonishment. The 
first, in the bloom of his age, is bearded, while the 
second, who is younger, is entirely beardless. It seems 
that in this group the artist wanted to symbolize, not 
as usually done in the fifteenth century, the homage of 
the different parts of the world where Africa is repre- 
sented by a negro, but the three ages of man’s life. 
The old Magi on his knees is clad in a red cloak with 
wide sleeves, tied by a belt at the waist; the second is 
dressed in blue and purple, the third in light orange and 
red. The three figures are set off in silhouette on a 
stone wall ornamented with geometric designs of a 
greenish-brown color. 

This painting is evidently a fragment and was com- 
pleted by the figure of the Virgin and the Child Jesus, 
doubtless accompanied by Saint Joseph. The same 
composition inverted withs light variations is found in a 
picture of the old collection of R. von Lippmann, 
Berlin, which was lent in 1904 to the Exhibition of 
Primitive French Paintings, organized at Paris. (No. 
=p] 

The panel in the collection of Colonel Friedsam 
comes from the Alphonse Kann Collection, Paris. 


BIBLIOGRAPHY 
Henri Boucuor: Primitive French Paintings, 
Paris, 1904 
G. Hu.tin pe Loo: Exhibition of Primitive 
French Paintings, 1904 
G. LAFENESTRE: Exhibition of Primitive French 
Paintings, Gazette des Beaux Arts, 1904. 


Lent by Colonel M. Friedsam. 
[ 22] 


SCHOOL OF AVIGNON 


No. 3. 


SCHOOL OF AVIGNON 
(X1IVth Century) 


No. 4. THE ANNUNCIATION 


ON WOOD 


Height, 10 Inches; Width, 13% Inche 


A remarkably well preserved, beautiful picture on 
gold background showing the Virgin on a carved and 
painted throne, clad in a blue cloak. On the left, an 
angel with large wings painted with vivid colors in the 
manner of a peacock’s tail, rests on one knee. He is 
dressed in a black robe with a richly gilded and be- 
jewelled cloak. On the upper left corner, God in a 
nimbus watching the scene and blessing the Virgin. 

In an interesting article in the Belvedere, Vienna, 
1927, No. 55, p. 6, Friedrich Winkler compares this 
panel with a Diptych in the Carrand Collection at the 
Bargello in Florence, dating both about 1390. 


Lent by Mr. and Mrs. Arthur Sachs. 


[ 24 ] 


SCHOOL OF AVIGNON 


mes 


No 


SCHOOL OF AVIGNON 
(XIVth Century) 


No. S, SANCTIFICATION OF A WOMAN 


ON WOOD 


Height, 31 Inches; Width, 24 Inches 


The Pope on his throne surrounded by Cardinals 
and an attendant sanctifies a woman. Three nuns 
are standing behind her. A divine hand extends 
blessings from the sky. The background is formed by 
crenellated buildings and palaces of the City of Avignon. 
A picture brilliant in colors and highly interesting in its 
execution. 


Lent by F. Kleinberger Galleries. 


[ 26 ] 


4 
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PES ee benaans 7s 


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SCHOOL OF AV 


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SCHOOL OF AVIGNON 
(End of the XI Vth Century) 


No. 6. St. Martin or Tours 


ON WOOD 
Height, 44 Inches; Width, 18 Inches 


The Saint stands in front of the Altar, represented 
in full length. With his both hands he raises high 
above his head a medal showing the Crucifixion. An 
angel on the left. On the altar a Chalice: 


Below is the Inscription: “S. Martinus.” 


Lent by Mr. B. 


[ 28 ] 


No. 6. SCHOOL OF AVIGNON 


SCHOOL OF PROVENCE 
(About 1400) 


No. 7. THe Vircin ENTHRONED, WITH DoNnaToR 
AND SAINTS 


ON WOOD 
Height, 12 Inches; Width, 814 Inches 


Axsove: The Virgin enthroned between a Benedic- 
tine on the left and a Saint. With the left hand the 
Virgin holds the Infant Child and the right is extended 
toward the Donator. She is entirely draped in a blue 
mantle with golden points. 

Betow: Three Saints standing. The one on the 
left may be identified with St. Louis of Toulouse, on 
the right is Mary Magdalene and in the center St. 
Ambrose. At their feet a lion is devouring a deer. 

Background gold with ornaments. 

Exhibited in Paris in 1904, No. 23. 

Formerly this charming painting was owned by 
Edouard Aynard in Lyons. 


Lent by Mr. Mortimer L. Schiff. 


SOUTHERN FRENCH SCHOOL OF ABOUT 1450 
No. 8. THE BiutE Maponna 


ON CANVAS, PASTED ON WOOD 


Height, 41 Inches; Width, 25% Inches 


This picture was probably painted near Toulouse, 
in the Department of Haute-Garonne, belonging to the 
School called L’ Ecole du Midi. 

The Madonna is dressed in a blue garment with gold 
trimmings. The Child wears a reddish-yellow dress 
and sits on the left of the Madonna. In the back- 
ground is a screen of gold, brown, and: red which is of 
tapestry pattern. 

The painting was previously in the collection of 
Prince Demidoff in Rome. 


Lent by Mr. and Mrs. Henry Barton ‘facobs. 
[ 30 ] 


‘IOOHOS HONYYA NYHHLNOS 8 ‘ON 


SCHOOL OF AVIGNON 
(Early X Vth Century) 


No. 9. THe Mourninc FoR CHRIST 


OAK PANEL: (Rounded at the two upper corners) 
Height, 19 Inches; Length, 27% Inches 


An intensive and interesting composition in which 
the figure of the Savior lies emaciated and inert upon a 
marble sarcophagus. Behind are grouped, with great 
forethought and reverence, the holy Mother, the two 
Martyrs, St. John to the left, and the aged Joseph of 
Arimathea to the right, in the background 1s the head 
of Nicodemus, or maybe that of the donor, on the ex- 
treme left a distant vista of the hill of Golgotha. The 
Madonna, as the central and predominant figure of the 
composition, is robed in a blue-black mantle, and wears 
an opaque-white hood that detracts from the flesh of 
our Lord, which in comparison appears limpid and 
ashy; Saint John in a cloak of vivid and beautiful red; 
Joseph of Arimathea wears an ample garb of brocade 
and fur. 

A very important and rare work. 


From the Rudolph Kann Collection in Paris. 


Described and reproduced by Salomon Reinach in 
“Repertoire de la Peinture’’. 


Lent by the Art Institute of Chicago. 


[32] 


NONDIAV HO'IOOHOS ‘6 ON 


0a : eS " mero 


JEAN MALOUEL 


Jean Ma.ovet (Maelwel), died in 1415, was, with 
Melchior Broederlam of Ypres, one of the most re- 
markable painters of the court of the Dukes of Bur- 
gundy. He was in the service of Philip the Bold and 
Jean the Fearless, who took him to Paris to the mar- 
riage of his niece, Jacqueline de Baviere, with the 
Dauphin. There is attributed to him at the Louvre 
Museum a pathetic little picture of round shape, which 
represents “The Dead Christ Supported by the Eternal 
Pathers 

Toward the end of his life he seems to have had 
recourse to the co-operation of Henri Bellechose, who 
succeeded him as painter to the Duke of Burgundy in 
1415. 

The History of Saint Denis (Louvre Museum) 1s 
said to be partly from his hand, while The History of 
Saint George, coming also from the celebrated Char- 
treuse de Champmol near Dijon, is said to be the ex- 
clusive work of Henri Bellechose. 


BIBLIOGRAPHY 


Henri Boucnuor: Exhibition of Primitive French 
Pictures, Paris, 1904 

Louis Dimier: History of French Painting, 
Parisi oes 

Paut-AnprE LEmoIsneE: Painting at the Louvre. 
French School, fourteenth, fifteenth and 
sixteenth centuries, Paris, L’///ustration, 
1 ODE 


JEAN MALOUVEL 
No. 10. JEsus PREAacHING AMONG THE Docrors 
ON PANEL 


Height, 44 Inches; Width, 30 Inches 
The Child Jesus, whose blond head is aureoled with 


a halo, is standing on a wooden platform which is 
reached by a stairway of sixteen steps. He talks from 
the top of this pulpit to the great astonishment of His 
parents, the Virgin and Saint Joseph, standing on the 
right and the Doctors of the Law, sitting on His left in 
stalls superposed in two rows. Five of the rabbis are 
looking attentively into their books, doubtless to make 
sure that the words of the young preacher are in con- 
formity to the Law and the Prophets. 

The crowding of the doctors one against the other, 
their facial expressions as little idealized as possible 
and almost caricaturistic clearly recall the great panel 
of the Legend of Saint George of the Louvre, attributed 
to Henri Bellechose, successor of Jean Malouel, so that 

[ 34 ] 


it may be asked whether the painting in the Friedsam 
Collection, treated somewhat as a genre scene, is not 
from the hand of the same artist. 

At all events, this interesting painting, coming from 
a Parisian collection, is one of the works of the most 


picturesque kind of the Burgundian school of the first 
half of the fifteenth century. 


Lent by Colonel M. Friedsam. 


No. 10. JEAN: MALOUEL 


JEAN MALOUEL 


No. 11. THE Maponna AND CHILD ENTHRONED WITH 
SAINT JEROME AND A WOMAN SAINT 


ON PANEL 
Height, 2038 Inches; Width, 1334 Inches 


All the critics will agree in considering this charm- 
ing Madonna, sitting on a throne, between Saint 
Jerome holding a book, and a Woman Saint who de- 
votedly lifts the extremities of the linen upon which is 
lying the Child Christ—as one of the most delicate 
creations of the French School of the fifteenth century. 


The fineness of the execution from under which jn 
some places the gold background is simmering through 
and particularly the dolorous expression in the faces of 
the Virgin and of the Saints who seem to have a pre- 
sentiment of the sufferings of the Passion, make one 
think of the celebrated Pietd by Jean Malouel, favorite 
painter of the Ducs of Bourgogne. 


This is a small chef d’oeuvre graceful, as well as 
emotional, that can brave comparison with the best 
Primitives of the Flemish or Italian Quattrocento. 


Lent by Colonel M. Frtedsam 


[36] 


JEAN MALOUEL 


do Wl 


oO 


N 


JEAN SOUQUED 


PORN AT TOURS ABOUT 1415 
DIED AT TOURS ABOUT 1480 

Jean Fouauet’s date of birth is not known. He ts 
the most celebrated of the Quattrocentists of France. 
He was in Italy in 1445 and his reputation was so great 
that he painted the portrait of Pope Eugene IV, of 
which Vasari speaks with praise. On his return to 
France he established himself at Tours, his native city, 
and* was appointed in 1475 official painter to King 
Louis XI. He is with Jean Bourdichon the last of the 
great French miniaturists. He illuminated notably 
“The Judiac Antiquities” of Joseph, preserved at the 
National Library of Paris, and the “Book of Hours”’ 
of Maitre Etienne Chevalier, mutilated by a vandal 
in the eighteenth century, forty leaflets of which, 
bought back at Frankfort by the Duke d’Aumale, are 

today the pride of the Condé Museum at Chantilly. 
Taking these miniatures as points of comparison, it 
was possible to attribute to Jean Fouquet a certain 
number of paintings, at the head of which series would 
have been the portrait which so unfortunately disap- 
peared of Pope Eugene IV. There are the portraits of 
Charles VII and of Chancellor Guillaume Jouvenel 
des Ursins, at the Louvre, the portrait of Etienne Chev- 
alier, formerly of the Berlin Museum that was hanging 
in the Church of Notre Dame at Melun and now is pre- 
served at the Antwerp Museum. It is quite logical to 
suppose that Jean Fouquet had also made several por- 
traits of King Louis XI, whose official painter he was. 
In spite of Fouquet’s stay in Italy, where he could 
have made the personal acquaintance of Fra Angelico, 
or at least admire his works, his style remains in the 
pure French tradition. He seems to us the continuer 
of the great miniaturists who worked for the Duke 


Jean de Berry. 
BIBLIOGRAPHY 


Henri Martin: Les Miniatures Francais, 
Paris, 1906. 

Count Paut Durrieu: Les Antiquités Fudaiques 
et le peintre ‘fean Fouquet, Paris, 1908. 

Les Boccace bE Municn, Munich, 1909. 

Le Livre d’ Heures, peint par Jean Fouquet 
pour Mairre ErreENNE CuevaLiger. The 
forty-fifth leaf of this manuscript was 
found in England. Paris, 1923. 

Max J. Frreptanper. Fine Bildnisstudie 
fean Fouquet, Jahrbuch der Preussischen 


Kunstsammlungen. T. XXXI, 1910. 
[38 ] 


JEAN FOUQUET 
INo~1o= “PORTRAIT OF LOUIS XL 


ON PANEL 
Height, 14¥2 Inches; Width, 10% Inches. 


The king is represented in bust, with right profile, 
detached on a black background. He is covered with a 
fur headgear of brown color above a red hood that en- 
closes the cranium and descends, so as to cover the 
ears, to the nape of the neck. Under the brim of the 
hood there is a tuft of hair. On his red garment with 
yellow collar he wears a collarette of the Order of Saint 
Michael, formed of grains and shells in alternation, 
which falls on his back. There hangs on his chest, 
attached to a golden chain, the medallion of the order 
with the image of his patron saint. 

The great interest attaching to this portrait centers 
in the rigorous conformity of it to the water color of the 
celebrated Gaigniéres Collection, kept at the Stamp 
Cabinet of the National Library in Paris. There is in- 
scribed at the bottom of this precious document: 
“Copied from an original portrait painted at the time 
in the cabinet of Mr. Gaigniéres.”’ It is therefore law- 
ful to admit that the portrait in the collection of 
Colonel Friedsam is the same which was in the cabinet 
of Mr. de Gaigniéres and which he caused to be repro- 
duced in his collection. 

There was also another water color of King Louts 
XT, on foot, in the Gaigniéres Collection; but it did not 
belong to the celebrated amateur, for on the design 
this manuscript note is found: “Copied after an original 
portrait in oil in the apartment of Madame la Duchesse 
de Nemours at the Hotel de Soissons, Paris.”’ 

The fact that it comes from one of the most famous 
collections of portraits of the Ancien Regime already 
gives the painting in the collection of Colonel Friedsam 
a title of nobility and a guaranty of authenticity. It 
may be affirmed, without fear of error, that Fouquet 
was not attached during more than five years to the 
person of the king without making his portrait. 
“Nothing informs us formally,” writes Henri Bouchot, 
“that Fouquet painted King Louis XI, but as he was 
at the court in an official capacity, it is very likely 
that he painted the son as well as the father.”’ 

It is objected that the portrait of Louis XI which 
was in the seventeenth century in the Royal Collec- 
tions at the Chateau of Fontainebleau, and which was 


[39 ] 


engraved in 1560 by Jean Morin is not identical with 
the portrait known in the Gaigniéres Collection; the 
fur bonnet is adorned with the leaden image, of which 
the chronicler Philippe de Commines speaks, and the 
Order of Saint Michael is worn on the collar instead of 
falling down the back. But nothing proves that Jean 
Fouquet has not painted several portraits of the king; 
it is even exceedingly probable. 

The exceptional quality of this painting is also an 
argument in favor of attributing it to the greatest 
master of the fifteenth century. It is very superior to 
the replica in the Museum of Arianna near Geneva, 
and can go hand in hand with the portraits of Charles 
VII and of Jouvenel des Ursins at the Louvre. 

This painting figured at the Exhibition of Primitive 
French paintings in 1904, (No. 102.) It comes from the 
Baron Vitta Collection, Paris. 


BIBLIOGRAPHY 


G. Dupteissis: Roger de Gaigniéres and his 
Iconographic Collections. Gazette des Beaux 
ALIS NSO: 

CH. DE GRANDMAISON: Gaigniéres, his corre- 
spondents and his collection of portraits. 
Niort. 1892. 

Henri Boucuor: Two portraits of Louis XJ. 
Gazette des Beaux Arts, 1903. 


Lent by Colonel M. Friedsam. 


[40] 


JEAN FOUQUET 


No. 12. 


JEAN FOUQUET 
No. 13. Portrait or A MAN 


ON WOOD 
Diameter, 9% Inches 


An extremely interesting head with a strong ex- 
pression. The eyes, nose and mouth are beautifully 
modeled and the vigorous execution of the whole por- 
trait is worthy of the great Master. A blue-gray head- 
dress, as worn in the middle of the XVth Century, 
stands out against a very fine red background. 


Exhibited at the Fogg Art Museum, Cambridge, 
Mass., 1927. 


Lent by Mr. and Mrs. Arthur Sachs. 


[42] 


ate) 


= 


1440 


CHOOL OF ABOUT 


FRENCH S 


No. 14 


NORTHERN FRENCH SCHOOL OF 1451 


Nor sl 5. THE CRUCIFIXION OF ST. PETER 


ON WOOD 


Height, 45 Inches; Width, 31 Inches 


This most remarkable panel belongs to a diptych 
the other parts of which are shown in this catalogue 
under Nos. 15 and 16. 

The Donator is kneeling with his hands joined. A 
manuscript prayer book is before him. The Martyrdom 
of St. Peter is taking place, before several persons 
richly attired, in a beautiful landscape with castles and 
spires. 

Mr. Albert van de Put, of the South Kensington 
Museum, recognized the Coat of Arms as that of the 
Chevalier Au Cygne. 

Described and reproduced by Jean Guiffrey, Pierre 
Marcel and Charles Terrasse in La Peinture Francaise. 
Les Primitifs. Second Series, Plates xxxtI—xxxvll. 

Formerly in the Levesque Collection. 


Lent by F. Kleinberger Galleries. 


[46] 


FRENCH SCHOOL OF 1451 


N 


NORTHER 


NORTHERN FRENCH SCHOOL OF 1451 
No. 16. St. ANTHONY IN PRAYER 


ON WooD 
Height, 45 Inches; Width, 31 Inches 


The right part of the diptych. St. Anthony is 
kneeling on the left, with uplifted head, in prayer. 
Before him is kneeling the Donatrix with her hands 
on a manuscript prayer book. A hilly landscape with 
a path between the rocks, on which an angel, leading 
two camels, 1s approaching, 


The same Coat of Arms as the one on the left part 
of the Diptych 1s beside the Donatrix, indicating that 
she is the wife of the Chevalier Au Cygne. 


Described and reproduced by Jean Guiffrey, Pierre 
Marcel and Charles Terrasse in La Peinture Frangaise. 
Les Primitifs. Second Series. Plates xxxl—xxxvil. 


Formerly in the Levesque Collection. 


Lent by F. Kleinberger Galleries. 


[ 48 ] 


4 
i 
| 


No. 16. NORTHERN FRENCH SCHOOL OF 1451 


NORTHERN FRENCH SCHOOL OF 1451 


Nos ly: THE ANNUNCIATION 


ON WOOD 


Each Panel: Height, 48 Inches; Width, 31 Inches 


The two wings of the diptych described under Nos. 
14 and 15. On the panel showing the Angel is the date, 
1451. 

The execution of the whole diptych is of a realistic 
character, broadly painted and of a very delicate 
technique. The donator recalls in many respects The 
Man With the Wineglass in the Louvre Museum in 
Paris. The Angel and the Virgin are attired in long 
robes with many folds, as is seen in Flemish paintings 
of the period. 

Certain parts of this diptych, notably the persons 
and the architecture, recall the Arras Tapestries and 
especially The Liberation of St. Peter (1454) conserved 
at the Cluny Museum in Paris. 

Described and reproduced by Jean Guiffrey, Pierre 
Marcel and Charles Terrasse in La Peinture Francatse. 
Les Primitifs. Second Series. Plates xxxl—xxxvil. 

Formerly in the Levesque Collection. 


Lent by F. Kleinberger Galleries. 


[50 ] 


Ist] HO TOOHDS NUYAHLYON “ZI ‘ON 


SIMON MARMION 


(Born in Amiens about 1425; died in Valenciennes in 
1480) 


Simon Marmion belongs, like Jean Bellegambe, to 
the French-Flemish School. Born at Amiens, he 
worked at Valenciennes in the second half of the fif- 
teenth century and enjoyed great reputation as a 
miniaturist. The poet Lemaire called him the “prince 
of coloring.” He is probably the author of the manu- 
script in the Petrograd Library: “The Great Chronicles 
of Saint Denis,” that Guillaume Filastre had copied 
for the Duke of Burgundy, Philip the Good. 

It is this same Guillaume Filastre who gave to the 
abbey of Saint Bertin at Saint Omer a set of pictures 
decorating an altar-piece of gilded work in which is 
seen the entire Legend of Saint Bertin. These small 
panels, dispersed at the time of the Revolution, passed 
to the collection of the King of Holland, then into that 
of the princes of Wied who sold them in 1906 to the 
Berlin Museum. They are treated with the finish of 
the miniature and, as they were executed, according to 
tradition, at Valenciennes, about the year 1460, it was 
thought that they might be attributed to Simon 
Marmion. It is true that this attribution was con- 
tested by Count Durrieu who put forward the name of 
Jean Hennecart, valet de chambre and painter of the 
Duke of Burgundy. 

A precious picture in the Louvre, The Discovery of 
the Holy Cross, could also, with some probability, be 
attributed to Simon Marmion. 


BIBLIOGRAPHY 


Mer. Denatsnes: Investigations on the altar- 
piece of Saint Bertin and on Simon Mar- 
mion, Lille. 


L. pE Fourcau.p: Simon Marmion. Revue de 
l Art Ancien et Moderne, 1907. 


Henautt: Les Marmion. Revue Archeologique, 
1907. 


SIMON MARMION 
Nomis: THe Maponna wiTH CHILD 


ON WOOD 


Height, 1414 Inches; Width, 10% Inches 


_ The Madonna enthroned is shown in front of a 
piece of rich red and gold brocade between two columns. 


[52] 


An interesting landscape is visible on both sides, 
with buildings on the shores of lake. The Madonna 
wears a blue mantle. Her blond hair is falling on her 
shoulders. The Child is resting in her arms. Her 
hands are folded in prayer. 

Dr. Friedlander considers this painting to be a very 
fine and characteristic work of the Master. 

Exhibited at the Royal Academy in London, Feb- 
Peary 27. No. 69, 


Lent by F. Kleinberger Galleries. 


No. 18. SIMON MARMION 


SIMON MARMION 
No. 19. Curist BEARING THE CROSS 


ON PANEL 
Height, 14% Inches; Weight, 10% Inches 


Christ dressed in a long robe and crowned with 
thorns is mounting Golgotha barefooted, bearing on 
his left shoulder a gigantic cross, instrument of his 
punishment. He 1s led by five executioners. The one 
at the head, covered with a helmet with chin-piece and 
dressed in blue and red, is dragging him by a rope fixed 
around his waist; another, in a yellow and blue dress, 
covered with a tapering hat of red color, 1s pushing 
him brutally from behind, seizing him by the hair. 
The other three soldiers, one of whom is dressed in a 
cut doublet, are advancing behind the cross. There is 
seen on the left the gate of a city where the cortege 
has just passed. In the background of landscape be- 
hind a verdure-covered hillock there are towers and 
spires. 

The very elongated figures, of an almost caricatural 
leanness, certain details of dress, as, for instance, the 
tapering caps and bonnets, the tight- fitting breeches, 
the pointed shoes, make one think of the paintings of 
Thierry Bouts. The executioner on the right, who is 
dragging Jesus by a cord, is almost identical with the 
person who is raising an arm of the miraculous cross 
in the Discovery of the Holy Cross in the Louvre. 


The scene of the bearing of the cross that the 
painter has represented in this panel, which was doubt- 
less a part of a cycle of the Passion, is transposed in the 
costume of the time, without any concern about local 
color and with the most complete disdain of anachron- 
isms. The executioners are soldiers of the fifteenth 
century; the gate of Jerusalem could also very well be 
the gate of Valenciennes. 


This painting, which is very well preserved, comes 
from the collection of Baron Tolin, Paris, and is cer- 


tified by Dr. M. Friedlander. 


Lent by Colonel M. Friedsam. 
[e343] 


SIMON MARMION 


No. 19. 


SIMON MARMION 


No. 20. St. GEORGE AND THE DRAGON 


ON WOOD 
Height, 20% Inches; Width, 151% Inches 


St. George on a White Charger attacks the Dragon 
with the lance. 

At a short distance on a rock the Princess Cleodo= 
linde is kneeling in prayer. 

A fortress is seen in the background with a multi- 
tude of observers. The subject of this painting is in 
accordance with the Legend as related by Jaques de 
Voragine. 


Lent by Mr. and Mrs. Otto H. Kahn. 


[56 ] 


No. 20. SIMON MARMION 


SIMON MARMION 


No. 21. Porrrair or PuitippE Le Harpy, DuKE oF 
Burcunpby (1342-1404) 


ON WOOD 


Height, 16% Inches; Width, 11% Inches 


Turned to the left he is seen in profile. On the head 
is a high black hat without brim, on which is a jewel 
adorned with a ruby. The face is clean-shaven, 
Round the neck he wears a fur-collar. The coat is 
pink, with a white design above, ornamented with 
jewels. From the neck hangs a medal with a precious 
stone in the centre (probably the Order of the Star, 
founded by his father, Jean Le Bon, King of France). 
Light green background. 

Inscription above: 

‘PHILIPPE LE HARDY FIX DU ROY JEAN DUX DE 
BOGNE. 

Former Collections: 

Mr. Serullaz, Paris; Count Montebello, Paris. 


Lent by Mrs. Thomas Ff. Emery. 


SIMON MARMION 


No. 22. Porrrair oF JEAN Sans PEuR, DUKE OF 
Burcunpy (1371-1419). 


ON WOOD 


Height, 15 Inches; Width, 11% Inches 


Seen in profile, turned to the left, his Wandsware 
joined in prayer. Jean Sans Peur was murdered on 
September 10, 1419, by a follower of the Dauphin 
Charles (later Charles VII), Tanneguy-Duchatel, on 
the bridge of the Yonne, near Montereau. He was the 
son of Philippe Le Hardy, whom he followed on the 
throne. In 1396 he was made prisoner of the Turks at 
the battle of Nikopolis, but was freed upon payment 
of 200,000 Ducats. 

Energetic, bold, and at the same time just, he was 
loved by his subjects. 

Inscription above: 

‘““JEAN DUC DE BOGNE FUC OCCIS A MOTEREAU.’ 

Former Collections: 

Mr. Serullaz, Paris; Count Montebello, Paris. 


Lent by Mrs. Thomas F. Emery. 
[58 ] 


’ 


NOINUYVW NOWIS ‘Tt ‘ON NOTNYVW NOWIS ‘cz ‘ON 


a ad 
Sddi THd 


SIMON MARMION 


No. 23. Porrrair oF PuirippeE Le Bon, DUKE OF 
Burcunpy (1396-1467). 


ON WOOD 


Height, 15 Inches; Width, 11% Inches 


Turned slightly to the right, he wears a crown and 
on his shoulders the order of the Golden Fleece. 

Allied with Henry V of England, he fought against 
Charles VII of France, against whom he was highly 
incensed on account of the murdering of his father. 
In 1435 he finally made peace with Charles VII at 
Arras. 

Philippe Le Bon encouraged arts, sciences, and 
industries; of the last particularly the weaving of 
tapestries. In 1424 he founded the Order of the 
Golden Fleece. 

Inscription above: 

“‘ PHILIPPE LE BON DUC DE BOURGOGNE. 

Former Collections: 

Mr. Serullaz, Paris; Count Montebello, Paris. 


Lent by Mrs. Thomas Ff. Emery. 


SIMON MARMION 


No. 24. Portrait oF CHARLES THE BoLpD, DUKE OF 
Burcunpy (1433-1477). 


ON WOOD 


Height, 15 Inches; Width, 11 Inches 


He is seen in three-quarter profile, turned to the 
right. Brown hair, clean-shaven face, the hands 
raised in prayer. He is attired in a pink-colored coat, 
adorned with fur. The upper part of his coat is dark 
green. He wears the Order of the Golden Fleece, with 
broad chain, adorned with turquoises. Black back- 
ground. Charles the Bold succumbed with his army 
in the battle against the Duke of Lorraine at Nancy 
on the 5th of January, 1477, where he was himself 
killed. 

Inscription above: 

““CHARLES DUC DE BOURGOGNE FUT TUE DEUAT 
NACY.” 

Former Collections: 

Mr. Serullaz, Paris; Count Montebello, Paris. 


Lent by Mrs. Thomas F. Emery. 
[ 60 ] 


NOINYVW NOWIS * 


al 
fe) 
Z 


NOIWUVW NOWIS ‘?¢o ‘ON 


SCHOOL OF AMIENS OF ABOUT 1480 


‘These seven panels, belonging to Mr. Martin A. 
Ryerson, (Nos. 20 to 26) are all that remain of a 
large polyptych altarpiece painted for the high altar 
of the ancient Carthusian monastery of St. Honoré 
at Thuison, a suburb of Abbeville, which, having 
flourished and grown very wealthy during the four- 
teenth century, was destroyed during the French Revo- 
lution. Originally the panels were four, painted on 
both sides, but they were sawed through, making eight. 
Of these, one, The Resurrection of Christ, has disap- 
peared. The other seven represent: The Last Supper, 
The Ascension, The Coming of the Holy Ghost, The 
Virgin and Child, St. John the Baptist, St. Hugo, 
Bishop of Lincoln, and St. Honorius, Bishop of Amiens. 

A description of the altarpiece is to be found in the 
Siffait manuscripts, so-called from the name of the 
family owning the originals. These were notes written 
by various inhabitants of Abbeville from time to time 
from 1657 to about the end of the eighteenth century.” 
In Volume V, which covers the years 1774-1780, the 
author describes the high altar of the monastery as 
follows: “Access is had by three steps; above the taber- 
nacle and the steps is a box, wherein is represented in 
gildened sculpture the Saviour’s Passion. When closed, 
they reveal, painted on the outside of the corners, the 
Holy Virgin, St. John the Baptist, St. Honorius and 
St. Hugo, which are shown on the preceding page.”’ 
The illustration to which the author refers shows the 
altarpiece in detail, with both open and closed wings. 
When open, the inner panels—the Last Supper, lost 
Resurrection, Ascension and Coming of the Holy 
Ghost—were visible, two on either side of the carved 
oak retable of the Crucifixion which occupied the 
center. According to Abbe Lefebre, during the Revo- 
lution in January, 1795, the furniture, altars, retables 
and paintings of the monastery were auctioned and 
the monks forced to leave.** The Ryerson panels were 
purchased by the Abbé Cauchy, the curate of the 
Church of the Holy Sepulchre at Abbeville and so 
preserved there. 

M. Emile Delignieres believes the Thuison panels 
were painted before 1440 because of an account by the 
Abbe Lefebre of a visit to the monastery by Philip 
the Good and his gift to the Prior, Dom Firmin le Ver, 
incumbent until the year 1440, of “sixty pounds parisis 
in doles, a violet velvet chasuble sewn with golden 
fleurs de lys barred with gold, also four gilded wooden 
painted panels which are placed upon the high altar.” 


[ 62 ] 


The original manuscript from which Abbé Lefebre 
made this excerpt has disappeared, and the Abbé him- 
self is dead. 

M. Delignieres suggests that the panels may be early 
works by Rogier van der Weyden, but the analogy 
between the panels and Rogier’s Ascension and Last 
Judgment in Antwerp is slight indeed. He also sug- 
gests that the outer wings and the inner panels are not 
painted by the same hand, but no basis for his conten- 
tion can be found in the works themselves. 

Dr. Friedlander believes these panels to have been 
executed about the year 1480. He sees in them “very 
interesting works, productions of the school of Amiens, 
which otherwise is unknown to us.” They are, he 
says, considerably more primitive and earlier than the 
Antwerp Mannerists. 

(Robert B. Harshe, Director of the Art Institute 
of Chicago, in his Catalogue of the Martin A. Ryerson 
Collection.) 


*Prarond: ‘Topography of Abbeville, 1, 356. The most re- 
markable happenings in Abbeville, from the year 1657 to the present. 
Notes to serve as sequel to the ecclesiastic history as well as the his- 
tory of the Mayors of Abbeville. 

** Abbé Lefebre History of the Carthusian Monastery of St. 
Honoré. 


BIBLIOGRAPHY 


DeELIGNIERES, E. Réunion des Sociétés des 
Beaux-Arts des Departments, published by 
the Ministere de [Instruction Publique et 
des Beaux-Arts, 1898. 305-343. 

Praronpd. Topography of Abbeville: The 
Most Remarkable Happenings in Abbeville 
from the Year 1657 to the Present. Notes to 
serve as sequel to the ecclesiastical history as 
well as the history of the mayors of Abbeville. 

ABBE LEFEBRE. Ffistory of the Carthusian 
Monastery of St. Honoré. I, 356. 

Catalogue of Exposition des Primitifs Frangais 
(supplement), Paris, 1904. No. 353. 

ABBE Crozet: Hagiography of the Diocese of 
Mmicns, ALL, 338-77. 

ForMER Owners: Monastery of St. Honoré at 
Thuison-les-Abbeville. 


Acquired from the F. Kleinberger Galleries. 
[ 63 J 


SCHOOL OF AMIENS OF ABOUT 1480 


Nor 2s: THE VIRGIN AND CHILD 
ON WOOD 


Height, 453% Inches; Width, 197% Inches 


This was originally one of four panels forming the 
outer side of the altarpiece wings. The Virgin stands 
in a semi-circular niche, surmounted by a projecting 
dais painted in grisailleé. She bears the Child in her 
right arm and in her left hand holds a fig before his 
intent gaze. She is amiable, more full-faced than in the 
Ascension and the Descent of the Holy Ghost, remind- 
ing us somewhat of Virgins by Bouts. She wears a 
green dress and over it a sleeved mantle of gold bro- 
cade, Italian in type, with medallions of flowering 
thistles on a red ground. The gold hem is set with 
emeralds and pearls. A dark blue mantle covers the 
top of her head and falls in graceful folds to the square- 
tiled floor. 

The Child wears a short white robe, and on his 
right hand a friendly small bird is perched. The 
Child’s face bears a family resemblance to that of St. 
Peter in the Last Supper panel. Between the pointed 
arches are placed, each in a painted niche, statuettes 
of four prophets in high relief. 


Lent by Mr. Martin A. Ryerson. 


[ 64 } 


SCHOOL OF AMIENS OF ABOUT 1480 


No. 25. 


SCHOOL OF AMIENS OF ABOUT 1480 


No. 26. Tue Last SuPPER 
ON WOOD 


Height, 4538 Inches; Width, 197% Inches 


The scene takes place here in an upper room, the 
back portion of which is covered with a gaufered leather 
curtain decorated with gilt arabesques surmounted by 
a dais painted in grisaille, containing three compart- 
ments divided into triangles. Each compartment 1s 
separated from the others by a sort of buttress. 

The Christ stands at the far end of an oblong table, 
around which are grouped the Twelve. At the Christ’s 
left stands Peter, white-bearded, his crown of white 
hair under the bald head surrounded by a plain gold 
nimbus. To the right of the Christ sits St. John, red- 
haired, wearing a dark red robe and a pale blue mantle; 
his arms are resting on the table, his eyes are lowered 
as if asleep, while he leans his boyish beardless face 
against the Saviour. At John’s side is another apostle 
with long white beard and hair, a golden halo around 
the head, clothed in a mantle with a wide lowered hood 
which falls over a golden robe adjusted to the belt. 

The other disciples sit around the table, some with 
hands folded, all generally in an attitude of reverence 
and adoration. 

To the right, seen through a door standing ajar, is 
an accessory composition, the Washing of Feet. Here 
the Saviour kneels with sleeves rolled back and an 
apron at His waist, in the act of washing Peter’s feet in 
a golden basin. The Apostle is easily recognizable. 
Other disciples, ten in number, group themselves in 
the background. 


Lent by Mr. Martin A. Ryerson. 


[ 66 ] 


i 
fo a SSS 


“ 


No. 26. SCHOOL OF AMIENS OF ABOUT 1480 


SCHOOL OF AMIENS OF ABOUT 1480 


No.2 7 Tue ASCENSION 


ON WOOD 
Height, 4538 Inches; Width, 197% Inches 


The Ascension is handled in the same manner as 
the Last Supper and most of the figures are the same, 
agreeing in resemblance as well as costumes. Above 
the round orbit of the earth filling half the field of the 
composition, the Christ is ascending; His naked feet 
have just left the ground upon which their imprints 
remain. The right hand is raised in a gesture of bless- 
ing, the rigid body is clad in a dark violet robe. The 
head is surrounded by a gilt cruciform nimbus; hair 
and beard are red. The body is bathed in golden rays 
coming from the sky, while clouds to right and left are 
bending down, ready to receive Him. On the hem of 
His garments, interrupted by the folds, are words 
from stanzas in honor of the Virgin: Salve sancta dei 
genetrix .. Opéra mantim™] | tw. . spon 

Before the earth ball, which they hide in part, the 
apostles are grouped on their knees, in varying atti- 
tudes. Hands are raised in surprise and adoration 
and, on the right, two apostles awkwardly shield their 
eyes to protect them from the blinding celestial light. 
All are draped in ample garments with gilt borders of 
differing sizes and styles. The Virgin kneels to the 
left, the long-fingered hands joined flat, head raised, 
eyes filled with an ineffable expression of mingled adora- 
tion, regret, and resignation. Behind the Virgin, some- 
what to her left, we recognize the red-haired, young 
and beardless St. John, whose short, very pale blue, 
almost white, mantle contrasts with the subdued red 
of the robe. To the right of the Virgin, in side view 
but facing her, St. Peter kneels. He wears pale blue 
robe covered with a wide red mantle with gilt border. 
Of the remaining characters, grouped on second and 
third planes, two stand out particularly. One, seen 
entirely from the back, wears gold embroidered, crim- 
son garments, a mantle with gilt orfrays, and a sky 
blue scarf over the arms. The second wears a green 
robe and mantle. The heads of both are thrown back 
and foreshortened to watch the Christ’s ascension 
immediately above them; nothing shows except the 
top of forehead and the nose. 


Lent by Mr. Martin A. Ryerson. 
[ 68 ] 


ABOUT 1480 


F AMIENS OF 


SCHOOL O 


INOs 27) 


SCHOOL OF AMIENS OF ABOUT 1480 


No. 28. THE DESCENT OF THE Hoty-GuHosT 


ON WooD 
Height, 4538 Inches; Width, 197% Inches 


In a deep, narrow room, floored with black-and- 
white square tiles, lighted from sides and back by win- 
dows set with little panes forming lozenges, the Holy 
Ghost appears in the traditional shape of a dove with 
wings extended, flying in a golden nimbus. From that 
focus golden rays leaping into flames fall radiantly 
upon the apostles grouped around the Virgin. The 
upper part of the room is cut off by a gilt dais, con- 
sisting of a wide string-course upon which there are 
line-drawings made with a pen of the full-length 
statues of eight prophets placed each in a little niche; 
these again end in points with round knobs and stand 
out on the red background like an embroidery accen- 
tuating the architectural details. Between the two 
groups of prophets and framed by the wide arch 
which spands the room, the episode of the Serpent in 
the Wilderness is represented. 

The composition of the main scene resembles those 
treated before; the same characters appear dressed in 
almost identical garb. The Virgin sits in the midst of 
the apostles, St. John and St. Peter, both kneeling 
beside her. 

A Virgin with Saint James and a donor in the 
Lord Leconfield Collection, Petworth, given to a Bur- 
gundian painter of the sixteenth century, and a Death 
of the Virgin in the Museum at Lyons (catalogued as 
by an unknown painter) show a close family resemb- 
lance to the Virgin in this panel. 


Lent by Mr. Martin A. Ryerson. 


[70 ] 


AMIENS OF ABOUT 1480 


SCHOOL OF 


No. 28. 


SCHOOL OF AMIENS OF ABOUT 1480 


Nop 29: SAINT JOHN THE Baptist 
ON WOOD 


Height, 453% Inches; Width, 197% Inches 


St. John the Baptist stands in a niche almost identi- 
cal with that occupied by St. Honorius. He wears a 
brownish-red tunic covered. with a brick-red mantle, 
which lifted by his left arm, shows his thin legs and 
curious feet, which have become, in the artist’s struggle 
to render them in steep perspective, almost deformed. 
On his left arm he carries a large closed book on which 
rests the divine lamb to which the saint points with 
his right hand. Within the grisaille compartments of 
the dais above the saint’s head, painted to represent 
carved stone, are the episodes of the saint’s life: his 
Birth; his Preaching in the Wilderness; the Baptism of 
Christ; the Appearance before Herod; the Decapita- 
tion. The saint’s hair is chestnut in color and his russet 
beard, divided into two points, recalls that of the Christ 
in The Last Supper, whose facial type indeed is similar. 


Lent by Mr. Martin A. Ryerson. 


[72] 


ABOUT 1480 


SCHOOL OF AMIENS OF 


PISS. 


No. 


SCHOOL OF AMIENS OF ABOUT 1480 


No. 30. St. Honorivus 


ON WOOD 


Height, 4538 Inches; Width, 197% Inches 


It was under the patronage of St. Honorius, one of 
the early bishops of Amiens, that during the fourteenth 
century the Carthusian monastery of Thuison was 
founded. St. Honorius was born at the village of Port- 
le-Grand, eight kilometers from Abbeville. He died in 
the year 600 and was buried in his native village. In 
the ninth century his remains were removed to the 
cathedral of his episcopal see. The right lateral portal 
of Amiens Cathedral shows various miracles performed 
by him. Two of these miracles appear on one of the 
carved wood retables which also came from the Car- 
thusian monastery of Thuison and which, according to 
Abbé Crozet,* were still at the Crotoy in Abbeville 
in 1870. The same miracles appear among the five 
compartments of the dais in this panel, representing 
episodes in the life of St. Honorius: kneeling, appointed 
bishop; healing a paralytic; apparition of a divine hand 
above the altar during his celebration of the mass; at 
prayer in his cell; exhumation of the relics of St. 
Fuscian, St. Victoric and St. Goutran. 

* Abbé Crozet: Hagiography of the Diocese of Amiens, III, 38-77. 


Lent by Mr. Martin A. Ryerson. 


ead, 


SCHOOL OF AMIENS OF ABOUT 1480 


No. 30. 


SCHOOL OF AMIENS OF ABOUT 1480 


No. 31. Saint Huco, BisHop or LiIncoLn 
ON WOOD 


Height, 4538 Inches; Width, 197% Inches 


St. Hugo, the scion of a noble house of Burgundy, 
having taken orders at the Grande Chartreuse (the 
Mother-house of the Carthusians) near Grenoble, had 
been prior of the Carthusian Monastery of Wittham 
in England, afterwards becoming archbishop of Lincoln 
in 1185. He dies there on November 17, 1200 and the 
monks at Wittham gave his remains to the Monastery 
at Thuison. 


He stands beneath a dais, identical with that in 
the panel of the Virgin and Child, holding in his right 
hand a crozier and in his left a golden chalice from 
which the Christ Child emerges. His white linen 
monk’s vestments covered with an ample scapular, fall 
to his feet. The dark blue bishop’s cope, repeating 
the thistle patterns of the Virgin’s gown, is fastened 
at the breast bya large gold plaque-s=@mstnicm. 
chased, within a circle of cusps, the Christ whose left 
hand holds the symbolic ball and whose right hand is 
raised in blessing. The mitre and the wide facings of 
the cope are richly ornamented with pearls and precious 
stones. 

The phenomenon of the large swan with the gold 
band about its neck results, according to M. Delig- 
nieres, from a tradition that Saint Hugo doubted the 
actual presence of the Savior within the Eucharist. 
These doubts were dissipated by the miraculous ap- 
pearance of the Christ Child from the chalice at the 
moment when the devil, in the guise of a swan, was 
endeavoring to distract the Saint’s attention. The 
left hand of the Saint, as well as the badly drawn 
chalice and the child are the work of another and 
much later hand. 


Lent by Mr. Martin A. Ryerson. 
[76] 


No. 31. SCHOOL OF AMIENS OF ABOUT 1480 


JEAN BOURDICHON 


Jean BourpicHon is, after Jean Fouquet, the chief 
representative of the School of Tours. From 1479 to 
his death, which occurred about 1521, he was em- 
ployed as painter and colourer by the Kings of France: 
Louis XI, Charles VIII, Louis XP and Pirancicets 

His most popular masterpiece is the decoration of 
the Great Hours of Queen Anne of Bretagne, finished in 
1508, this lady having been the wife of Louis XII. 
This celebrated manuscript of fifty-one miniatures, 
each full page, without counting the pretty encasings 
“of very rich flowers, all different”? adorning the mar- 
gins of all the leaves, is kept in the Bibliothéque Na- 
tionale at Paris. Several other colored manuscripts 
could be attributed to him by comparison, notably 
the Book of Hours of the Duke d Angouléme, father of 
Francis I. But Bourdichon was not only a miniaturist. 
Documents prove that he also painted large religious 
pictures, for instance an Adoration of the Magi, in sev- 
eral compartments, ordered by King Charles VIII, 
and an Allegory of Death. The Triptych of Passion of 
the church of Saint Antoine de Loches, dated 1485, 
might be by his hand. We know that he also painted 
portraits. There are generally attributed to him two 
portraits of children of brilliant charm, who are most 
probably the children of Charles VIII; the little dau- 
phin Charles-Orland (Collection of M. de Beistegui, 
and a young child represented with joined hands, in 
the Louvre). 


BIBLIOGRAPHY 


URMER: The Book of Hours of Queen Anne of 
Brittany, Paris, 1841. 
MILE Mate: Three New Works of fean Bour- 
dichon, Gazette des Beaux Arts, 1902. 
Jean Bourdichon and his Workshop, 1904. 
Count Pau, Durrieu: Painting in France 
from 1422 to 1589; History of the Art of 
Andre Michel, TY. 1V, 1911. 
JEAN GUIFFREY AND Pierre Marcet-: French 
Painting. Primitives. Pariseeccs 
Louts Dinter: History of French Painting, 
Patisslo 2s: 


L781 


JEAN BOURDICHON 


No. 32. Portrait or Man witu FALcon 


ON PANEL ROUNDED AT TOP 


Height, 9% Inches; Width, 7% Inches 


Depicted on a red background, in bust, slightly 
turned to the left. Hair, moustache and spare beard 
are reddish-brown. He wears a velvet toque and a 
black robe with turned up collar. He is holding a 
falcon on his wrist. 


Lent by Colonel M. Friedsam. 


No. 32. JEAN BOURDICHON 


JEAN BOURDICHON 


No. 33. Diptycu. Portrairs or HUSBAND AND WIFE 
Each Panel: Height, 8 Inches; Width, 5 Inches 


Their hands are joined in prayer. The young man 
wears a black coat with fur collar. The background is 
dark green. The young lady wears a dark costume 
and a white headdress. Red prayer-beads in her 
hands. The background of this panel is red. 

Formerly in the Collection of Prince Borosselski in 
Warsaw. 


Lent by Mr. Mortimer L. Schiff. 


[ 80 ] 


JEAN BOURDICHON 


No. 33. 


MAITRE DE MOULINS 


The Anonymous Author of the magnificent “Trip- 
tych of the Cathedral of Moulins” who was for this 
purpose baptised Maitre de Moulins, and whom Henri 
Bouchot proposed to call the Painter of the Bourbons, 
for he worked specially for this princely family, re- 
mains even today one of the most mysterious artistic 
personalities of the French School of the fifteenth 
century. 

It would be tempting to identify him with Jean 
Perreal,, surnamed Jean of Paris, who was the favorite 
painter of the kings Charles VIII, Louis XII and 
Francis I. The dates and circumstances of his life, 
and the style of his pictures, seem to confirm this 
hypothesis. We know in fact that Jean Perreal worked 
at Lyons, as the Maitre de Moulins, for Cardinal 
Charles de Bourbon. He was the painter commissioned 
by Queen Anne of Bretagne with designing the pattern 
of the celebrated tomb of Nantes, sculptured by Michel 
Colombe. Now, the type of one of the virtues Tem- 
perance which decorates one of the angles of the tomb, 
offers the most striking analogies to several figures of 
the Maitre de Moulins; notably Saint Madeline of the 
Louvre. Unfortunately, these comparisons give us 
only probabilities and presumptions, without allowing 
us to identify the personality of the two artists. 

Around the Triptych of the Cathedral of Moulins, 
his masterpiece, which may be dated 1498, there are 
grouped several works of great charm which are cer- 
tainly from the same hand, The Nativity in the Museum 
of Autun, painted about 1480 for Cardinal Jean Rolin, 
the portrait of Cardinal Charles de Bourbon, two 
copies of which are known, one at the Museum of 
Condé at Chantilly, the other at the Musée Germanique 
of Nuremberg; the Donatrix Presented by Saint 
Madeline (Louvre) which might be placed about 1495, 
the Decapitation, of Col. Friedsam, The Virgin and the 
Child of the Brussels Museum, the Annunciation of 
the Ryerson Collection and the Meeting of Foachim 


[ 82 ] 


and Anna which recently entered the National Gal- 
lery in London. 


BIBLIOGRAPHY 


Henri Boucuor: Exhibition of French Primi- 
tives, Paris, 1904. 

Count Durrieu: French Painting trom 1422 to 
1589. 

AnpDRE MicueEt: History of Art, T. IV, Paris, 
Oil, 

Er. Moreau-NE taton: The Clouets and Their 
Imitators, Paris, 1924. 

Louis Dimer: History of French Painting, 
Rarissi 925, 


[ 83 J 


MAITRE DE MOULINS 


No. 34. DECAPITATION OF FivE Martyrs 


ON PANEL 


Height, 35% Inches; Width, 26% Inches 


Five martyrs, all young and beardless, their heads 
in halo, are grouped in the left foreground. One of 
them has already lost his head. The four others are 
kneeling, with their hands joined. The executiener, 
in red doublet and blue breeches, has seized the first 
by his hair and, with arm raised, prepares to strike 
him with his sword. 

In the background there is a prison at the left with 
its narrow loop-holes, the gate of which is partly open. 
On the right there is a landscape background with 
rocks and a fortress surrounded by water. It is impos- 
sible to determine the meaning of this scene, for none 
of the saints that are undergoing martyrdom has the 
least distinctive attributes. The one who is being 
seized by the executioner seems to be of higher rank 
than his companions, for he wears a richly embroidered 
garment, while the others are more modestly clad. 

The limpid coloring and the background of the 
landscape distinctly show the manner of the Maitre de 
Moulins and recall the style of the two beautiful por- 
traits in the Louvre, dated 1488, which represent Pzerre 
IT, Duke of Bourbon, and his wife, Anne de Beaujeu. 


BIBLIOGRAPHY 


CaMILLeE Benoit: French Painting to the End of 
the Fifteenth Century. Gazette des Beaux 
iis AO s 


Lent by Colonel M. Friedsam. 


[ 84 ] 


MAITRE DE MOULINS 


No, 34 


MAITRE DE MOULINS 


INO 355 ANNUNCIATION 


ON WOOD 


Height, 29 Inches; Width, 20 Inches 


The Virgin kneels before a prie-dieu in the right 
foreground on which an open breviary 1s placed. Her 
dark blue gown is corded at the waist, and her rose- 
red mantle is buttoned across the chest with a strap 
and falls in a cascade of folds to the marble floor. 
Behind her is a bed with drawn curtains and valance, 
and a small portrait of the Christ, His hand raised in 
blessing. A beam with a classic console supports the 
arched ceiling. A variegated marble column with 
Ionic capitol is seen on the left with the suggestion of 
a garden at its foot. Gabriel, the angle of the Annun- 
ciation, too sharply defined against the background, 
wearing a green dalmatic lined with rose, holds a 
baton topped by a crown in his left hand and presum- 
ably announces the advent of the dove, although his 
gaze is fixed on the ceiling. 

A recent acquisition by the National Gallery has 
brought to light a hitherto unpublished work by the 
Maitre de Moulins. In Dr. Friedlander’s opinion this 
panel and the panel recently acquired by the National 
Gallery in London, representing Joachim and Anna at 
the Golden Gate with the figure of Charlemagne beside 
them, once belonged to the same Triptych. 

Exhibited, National Exhibition of Old Masters, 
Grafton Gallery, London, 1909 (No. 76, illus.) 


BIBLIOGRAPHY 

FRIEDLANDER, M. J.: Burlington Magazine, 
Oct., 1925, XLVII, 187-191 (illus.) 

Conway, M.: The Van Eycks and Their Follow- 
ers, 187. 

BrockwELL, M. V.: The Connotsseur, 1922, 
LXII, 206. 

GuIFFREY, J., AND Marce., P.: La Peinture 
frangaise—les Primitifs. 18) pip soe oes 

Fry, R.: Burlington Magazine, 1906, IX, 331 
(illus.) 

Monap, F.: Gazette des Beaux Arts, 1910, n.s.v. 
3, 331, (illus.); Revue de lartp 1910p 

Rernacu, S. Repertoritum de peintures du moyen 
age et de la Renaissance. IV, 54. 


Lent by Mr. Martin A. Ryerson. 
[ 86 ] 


MAITRE DE MOULINS 


. 


a) 
©9 


No. 


MAITRE DE MOULINS 


No. 36. PorRTRAIT OF A LapDy 


ON WOOD 
Height, 1234 Inches; Width, 9 Inches 


On a beautifully ornamented background is shown 
the portrait of a distinguished Lady. A white, trans- 
parent headdress, as worn at the end of the XVth 
century, falls down over her shoulders. 

She is evidently praying, because with both of her 
hands she is holding her Chapelet, to which are attached 
blessed Medallions. 

This painting was formerly owned by Count 
Bissaccio in Chartres. 


Lent by Mr. A. Berg. 


[ 88 ] 


No. 37. MAITRE DE MOULINS 


MAITRE DE MOULINS 


No. 38. MapELINE DE WARDHEMBERGHE, COUN- 
TESS OF EGMONT 


ON PANEL 


Height, 16% Inches; Width, 934 Inches 


Younger than her husband, Jean, Count of Egmont, 
she is also represented in half body, on a green back- 
ground, her hands resting on a balustrade covered 
with the same fabric of Genoa brocade. But, instead 
of a paper, her right hand is holding a carnation, which 
was the fashionable flower of the time. Slightly turned 
to the left, she wears a headband of monastic severity, 
and a black gown, with large sleeves, ermine-bordered. 
Her features are sober and inexpressive. Without the 
flower she holds in her hand, and which is her only 
coquetry, one might almost say she was a nun. 

Reproduced in a contemporary drawing in the 
Recueil [ Arras and recognized by Dr. M. Friedlander. 


Lent by Colonel M. Friedsam. 


MAITRE DE MOULINS 


No. 38. 


MAITRE DE MOULINS 


No. 39. PorTRAIT OF A YouNG MAn 


ON PANEL 


Height, 10%2 Inches; Width, 8 Inches 


Covered with a bonnet of velvet, brim of which falls 
down as far as his eyebrows, and from which escape 
long hairs falling on the back of his neck to the should- 
ers, a young beardless man, seen in three-quarter view, 
looks at us with his glancing eyes widely opened. He 
is clad in a mantle, bordered with fur, which is crossed 
on his breast. Only his left hand, which seems to hold 
a letter, is partly visible. The physiognomy, that the 
painter has not tried to idealize, has nothing noble in 
it; but it is very fine and individual. 

This delightful little portrait, that Dr. Max Fried- 
lander gives to the Maitre de Moulins, and which at 
all events 1s worthy of him, might be dated about the 
year 1490. 


Lent by Colonel M. Friedsam. 


al 


Quentin Matsys are characterized by the elongation of 
the figures, a somewhat effeminate grace, the richness 
of the architectural decoration in the taste of the Ren- 
aissance, and by a harmonious and limpid coloring. 
His contemporaries named Bellegambe “The Master 
of Colors.”’ 


BIBLIOGRAPHY 


A. Wauters: Yean Bellegambe de Douat, Paris, 
1862. 

Mer. Denaisnes: Life and Work of fean Belle- 
gambe, Lille, 1890. 

Max J. FrreDLANDER: Mezsterwerke der Nieder- 
laendischen Malerei des XV. and XVI. 
Fahrhunderts auf der Ausstellung zu Bruegge, 
Muenchen, 1903. 


L972] 


JEAN BELLEGAMBE 


No. 40. Triprvcu. THE ADORATION OF THE 
VIRGIN 


Central Panel: Height, 39% Inches; Width, 24 Inches 
Shutters: Height, 27% Inches; Width, 9% Inches 


Signed and, dated 4: 7.1533: 


CENTRAL PaneL: The Virgin, seated on a richly 
decorated throne with the Jnfant Fesus in her arms, 
receives the homage of four donators kneeling at her 
feet. There hovers above the throne the Ezernal 
Father in a glory of orange and gold. Tiny angels are 
playing on the canopy and on the arms of the throne; 
four of them, more daring or more curious, have taken 
position in the niche of the pedestal. 

Among the four donators kneeling before the Ma- 
donna, the two laymen who are in the foreground 
seem to be of princely rank to judge from the sump- 
tuous robes of ermine in which they are dressed above ~ 
their orange-colored garments. Behind them there 
kneel in great modesty two monks of the Order of 
Cisteaux, on the left a monk with his hands joined, to 
the right a nun holding the Book of Hours. The 
austerity of their monastic robes, black and white, 
contrasts with the magnificence of the prince and the 
princess. 

INTERIOR OF THE SHUTTERS: On each side kneel 
two Cistercian monks in prayer, joining their prayers 
to those of the donators. Those on the left are under 
the protection of Saint Bernard of Clairvaux, the 
founder of their order; those on the right are under the 
protection of a mitred archbishop, holding the double 
cross, who might be Saint Malachie, primate of Ireland, 
pupil of Saint Bernard. In the nooks of the panels, an 
angel presents the armorials of Clairvaux and the 
donators. 

REVERSE OF THE SHUTTERS: Represent the most 
popular miracles of the Legend of Saint Bernard—the 
miracle of the milk of The Virgin, or, to use the ex- 


[98] 


pression consecrated in Christian iconography, the 
Miracle of the Lactation. According to the legend, 
Saint Bernard saw in ecstasy The Virgin nursing the 
Infant Fesus and a few drops of the miraculous milk 
struck his face. A pretty picture in the Wallraf- 
Richartz Museum of Cologne, attributed to the Master 
of the Life of the Virgin (Meister des Marienlebens), 
represents this subject which was particularly honored 
in the convents of the Order of Cisteaux. Here Saint 
Bernard is kneeling on the left before the Virgin 
Nursing Her Child, which occupies the right shutter. 

This precious triptych, unknown to Mgr. Dehaisnes, 
who does not speak about it in his monograph on Jean 
Bellegambe, was evidently executed for an abbey of 
the Order of Cisteaux. The scene of the Legend of 
Saint Bernard, represented on the shutters, the Cis- 
tercian monks kneeling before the feet of The Virgin, 
is a clear proof of it. But, before passing to the col- 
lection of the Baron de Tavernost and thence to the 
collection of Col. M. Friedsam, this painting was in the 
chapel of Cellier, Department of the Aube, which was 
formerly a dependency of the abbey of Clairvaux. 
It was published under the name of The Altar-piece of 
the Cellier for the first time by Mr. de Mely in 1908. 

Now, among the monasteries in the neighborhood 
of Douai for which Jean Bellegambe had been active, 
there was situated a famous convent of women of the 
Order of Cisteaux, also dependent on Clairvaux: the 
abbey of the Cistercians or Bernardines of Flines. We 
know that the abbess of this monastery, Jeanne de 
Bourbais, who devoted considerable sums to the dec- 
oration of her church, had several times given impor- 
tant orders to Jean Bellegambe. She commissioned 
him in 1511 with the decoration of the 4maire of Saint 
Hubert, that is, the Shrine containing the relics of this 
Saint whom the pilgrims invoked against pestilence. 
It would therefore be fairly tempting to recognize 
Jeanne de Bourbais under the features of the nun 
kneeling to the right. However, the armorials, which 
were studied by N. Prinet, are not hers. 

The two people kneeling in the foreground might 


[99] 


be the founders of the abbey of Flines, that 1s, Mar- 
guerite of Flanders and her husband. The attribution 
of this remarkable triptych is outside of doubt. One 
might rather have expected to see the signature J. B. 
than that of B. J.; but these inversions of initials are 
not without precedent. The proportion of the figures, 
the background of the landscape, the rich decoration 
of the throne of The Virgin which reminds one some- 
what of the semi-Gothic, semi-Renaissance architec- 
ture so dear to Jean Gossart and Lancelot Blondel, 
the soft coloring, the rather delicate beauty: all betray 
the hybrid art of this Franco-Flemish painter. This is 
likely to be the last known work of Jean Bellegambe, 
who died a little after 1533. He is likely to have 
painted this triptych the same year when Jeanne de 
Bourbais resigned her functions of abbess of Flines 
that she occupied since 1507. It is not impossible that 
she presented this votive offering to her dear abbey 
as a farewell gift. 


BIBLIOGRAPHY 


D’arBolIs DE JOUBAINVILLE: Repertoire Archeo- 
logique de [ Aube, 1861. 

ABBE Hautcoeur: History of the Abbey of 
Flines, Paris, 1874. 

De Me ty: The Altar-piece of Cellier and the sig- 
nature of Jean Bellegambe Revue de 1 Art 
Ancien et Moderne, 1908. Reproduction 
in heliogravure. 


Lent by Colonel M. Friedsam. 


[ 100 ] 


JEAN BELLEGAMBE 


No. 40. 


JEAN BELLEGAMBE 


No. 41. THE CONVERSION OF ST. PAUL 
Height, 40 Inches; Width, 47 Inches 


The scene is set on the road to Damascus, behind 
which are seen rocky hills, chateaus, a lake and on a 
small scale, the persecutions of the Christians. 

St. Paul, under whom his white horse has collapsed, 
gazes upwards and beholds the celestial “sign” of sun- 
rays. Soldiers in armour, on horseback and on foot, 
surround him, and their holy terror over the miracle 
is depicted on their faces. 

The painting is full of dramatic action and of vivid 
transparent coloring. The red, white, and yellow pre- 
dominate. 

This magnificent picture identified by Dr. Max 
Friedlander at the Bruges Exposition, is a highly wel- 
come example of the work of this Franco-Flemish mas- 
ter who reminds one at the same time of Simon Mar- 
mion, “Prince d’Enluminure,” and of the Antwerp 
painter, Quentin Metsys. Like his contemporary, 
Jean de Maubeuge, better known under the name of 
Mabuse, Jean Bellegambe of Douai appears to us like 
a vivid link between the French and Flemish Primi- 
tives. 


Exhibited in the Bruges Exhibition of 1902. 


BIBLIOGRAPHY 


Max J. FRIEDLANDER: Metsterwerke der Nieder- 
landischen Maleret auf der Ausstellung zu 
Briigge. Muenchen, 1903. 


Lours Reau: Monograph on Yean Bellegambe. 


Lent by F.. Kleinberger Galleries. 


[ 102 ] 


No. 41. JEAN BELLEGAMBE 


JEAN BELLEGAMBE 
No. 42. Portrair oF THE ABBoT CHARLES CoGUIN 


ON WOOD 


Height, 2614 Inches; Width, 1114 Inches 


This panel is evidently a fragment of a triptych, 
judging from the attitude of the person turning to the 
right, it should be a part of the left shutter. The bishop 
or abbot, the donator of the altar-piece 1s represented 
on his knees with bare head, hands joined. A crown of 
hair sprinkled around his wide tonsure falls in fringes 
on his forehead; his features are rather fine, in spite of 
the disproportionately long nose. On his blue robe 
there is thrown a dalmatic of gold brocade trimmed 
with bands of orfrois and fixed on the chest by a mag- 
nificent clasp in chiselled gold. Behind his gloved 
hands (according to the liturgical tradition pontifical 
gloves, chirotecae) are his abbatial cross and his sudo- 
rium. His mitre trimmed with pearls is on the ground, 
near his Prie-Dieu on which there is an open Book of 
Hours. In a large bay. that divides a mullion orna- 
mented with pilasters and thin columns, a charming 
landscape is seen; to the left a group of trees, to the 
right a river crossed by a bridge and animated with 
boats. 

According to the embroidered armorials on the rug 
covering the Prie-Dieu, above the mitre, the person- 
age represented here is the mitred abbot, Charles 
Coguin, superior of the powerful abbey of Saint Sauveur 
d’Anchin, not far from Douai and the Cistercian abbey 
of Flines. The cloisters of this abbey, unfortunately 
destroyed, were reputed to be the finest in Europe. It 
is in this church that there were found two of the 
masterpieces of Jean Bellegambe: the poliptych of the 
Holy Trinity and the triptych of the Mystic Bath of 
the Souls in the Blood of the Saviour or of the Holy 
Blood. 

The shutter of this triptych, a characteristic work 
of Jean Bellegambe, is likely a work of 1510 or there- 
abouts, considerably earlier than Col. Friedsam’s 
triptych of the Adoration of the Virgin dated 1533. 

A. Forceats Collection, Paris, 1858. 


Jean CreAN Collection, Troyes. 


BIBLIOGRAPHY 


Mer. Denaisnes: Life and Work of fean Belle- 
gambe, Lille, 1890, page 125. 


Lent by Colonel Michael Friedsam. 
[ 104 ] 


JEAN BELLEGAMBE 


a 


No 


JEAN PERREAL 


No. 43. Portrait oF MonsiIEuR DE BELLEFOURIERE 


ON PANEL 


Height, 161% Inches; Width, 1114 Inches 


He is represented in bust, turned to the left, on a 
dark green background. His energetic face, smoothly 
shaven, has a severe and stern look. He is covered 
with a square bonnet from which long hairs escape, 
covering the back of the head. Huis black costume is 
animated only by a lingerie collar. 

We can draw from this famous picture itself pre- 
cious information about the identity and age of the 
model. The portrait is unfortunately not signed, but it 
is dated. The date of 1521 is seen on the top te 
armorials of the personage are reproduced on the right, 
and on the lower edge of the frame there is inscribed 
his name in large letters: Monsieur de Bellefourtére, 
with the number 69, which may mean his age. 

This beautiful portrait, which comes from the col- 
lection of the art-critic Thiébault-Sisson, Paris, has 
figured at the Exhibition of French Primitives in 1904, 
Catalogue No. 147. 


BIBLIOGRAPHY 


E.. Bancet: Jehan Perreal, Paris, 1885. 


R. pE Mautpa La CLaviEre: Jehan Perreal 
called Fean de Paris, Paris, 1896. 


Lent by Colonel M. Friedsam. 


[ 106 ] 


JEAN PERREAL 


No. 43, 


JEAN CLOUET 


The two Clouets, Jean and his son Frangois, have 
been for a Jong time in the eyes of the public and even 
the learned, the outstanding French portraitists of 
the time of Francis I. 

Like Corneille de Lyon, the Clouets were origin- 
ally from the low countries. From the beginning of the 
reign of Francis I, we see Jean Clouet, called Janet, 
established at the Court of France. In 1522 he be- 
came gentleman of the chamber in the royal house, 
replacing Jean Bourdichon, and in 1528 painter and 
valet de chambre of the king. He acquired such a repu- 
tation that the poet Clement Marot is not afraid to 
compare him to Michael Angelo. Jean Clouet died in 
1540 leaving his position to his son Francis. 


BIBLIOGRAPHY 


Count DE LABORDE: The Renaissance of the 
Arts at the French Court, Paris, 1850. 
Henri Boucuor: The Clouets and Corneille de 
Lyon;.Paris, 1392. 

A. GERMAIN: The Clouets 

E. Moreavu-Netaton: The Clouets, official 
painters of the French kings, Paris, 1908. 

Portrait Painting at the Court of the Valois. 

French Crayons of the sixteenth century, pre- 
served at the Conde Museum at°Chantilly, 

Paris, 1909. The Clouets and Their Imitators, 
Paris, 1924. 

Louis Dru teEr: History of Portrait Painting in 
France in the sixteenth century. 3 vol- 
umes, Paris, 1924-1926. 


JEAN CLOUET 


No. 44. Portrait oF A PRINCE OF THE HOUSE OF 
SAVOIE 


ON WOOD 


Height, 16% Inches; Width, 12% Inches 


Among the paintings that bring to one’s attention 
the name of the Clouets, the celebrated portraitists of 
the Court of the Valois, there is none that better de- 
serves the qualification of “chef d’oeuvre” than this 
magnificent portrait of a grand seigneur of the time of 
Francis I. 

Wearing a cap ornamanted after the fashion of the 
time, with a jewel showing Saint Barbara, the gentle- 
man is presented to us turned three-quarters to the 
left. Long, light-brown hair, carefully combed, con- 


[108 ] 


tours his virile physiognomy, hiding almost entirely 
the ear of which only the lobe is perceived. With the 
exception of a very light moustache, his energetic face 
is almost without beard which accentuates his expres- 
sion of youth. 

The elegant and even sumptuous costume, as well 
as the proud and almost imperative regard, indicate a 
man of high birth. The rim of his black barrette 1s 
ornamented with gold batonnets. He wears a dark 
brown fur coat from which emerges a white lingerie 
collar neatly pleated. On his breast is a magnificent 
gold chain tormed of roses and interlaced letters from 
which is pending an enamelled medal representing the 
Annunciation of the Virgin: It is the chain of the 
Order of the Annonciade. 

This beautiful portrait has come down to us in a 
marvelous state of preservation. The background 1s 
of a transparent blue and serves exceptionally well to 
bring out the firm modeling of the face and of the 
goldsmith ornaments. The execution is of particular 
neatness, notably in the treatment of the hair and of 
the details of the costume without, however, degenera- 
ting in minute brush work. The colors applied thinly 
and smoothly have the transparence and the eclat of 
enamel. 

The provenancy of this panel is a safe guaranty for 
its authenticity. It belonged to the Duke de Mailly, 
whose coat-of-arms is pasted on the back, and lately it 
was in the famous collection of the Count de Mont- 
brizon at the Chateau Saint-Roch near Toulouse, 
where the French Primitives were represented so 
remarkably. 

The chain of the Order of the Annonciade that 1s 
worn by our gentleman so ostensibly on the breast 
may indicate to us his identity. This order had been 
founded in 1362 by Amédée VI, Duke of Savoie, 
under the name of the Order of the Collier. It was re- 
newed in 1518 by the Duke Charles III and called 
Annonciade in honor of the Annunciation of the Virgin. 
The insignia of the order is a sort of rosary in gold- 
smith work, the roses of which are separated by the 
device Fert which was explained differently, either: 
Fortitudo ejus Rhodum tenuit or Frappez, Entrez, 
Rompez, Tout. This order, which is still today the 
highest order of the Italian crown, heir of the House 
of Savoie, was given only to the princes of royal blood. 
This is the reason why one is tempted to recognize 1n 
this portrait a prince of the House of Savote. 


[ 109 ] 


This supposition is all the more probable as the 
princes of Savoie were closely united by marriage with 
the Court of France. The King Francois I was the son 
of Louise de Savoie and, consequently, nephew of 
Philibert le Beau, who married Marguerite d’Autriche, 
daughter of Emperor Maximilian. Francis I was also 
a nephew of Charles III of Savoie (1504-1553) who 
restored the Order of the Annonciade. These princes 
frequented the Court of France and it is but natural 
that they had their portraits made by the painter of 
Francis I. 

As to the author of this magnificent portrait, it 
cannot be any other than JEAN CLovuETt, called Janet, 
for chronological reasons and on account of its execu- 
tion. This was the favorite painter of Francis I in 
whose service he spent all his life, from 1516 to 1540. 
It suffices to compare this chef d’oeuvre with other 
authentic portraits of the master, like the beautiful 
portrait of Louis de Cléves, brother of the Duke de 
Nevers, which is at the Museum of Bergamo, in order 
to be convinced of its attribution, already ancient. 

We arrive at the conclusion that this magnificent 
portrait, which counts among the most perfect works 
of the French pictorial art of the sixteenth century, is 
by the hand of Jean Clouet and that it represents a 
prince of the House of Savoie and even possibly the 
Duke Charles III, the restorer of the Order of the 


Annonciade. 


Former Collections: 
DuKE DE Mairi. 
Count DE Monrsrizon, Chateau St. Roch. 


BIBLIOGRAPHY 
Lours Reau, Monograph Fean Clouet. 


Lent by Colonel M. Friedsam. 
[1104 


No. 44. JEAN CLOUET 


JEAN -CLOUETL 


Nos45. PorTRAIT OF FrRAnNcIs | 
ON Woop 


Height, 16 Inches; Width, 1234 Inches 


The King is represented in half figure, front view, 
his head slightly turned to the left. His two hands are 
visible, one showing the palm open, the other resting 
on the handle of a magnificent engraved sword. He 
wears a red laced doublet over which is shown a fur 
mantle studded with large pearl. He is elegantly 
covered with a black toque ornamented with a medal- 
lion of pearls and embroidered with a large white 
feather. 

Several reproductions of this beautiful portrait, 
which comes from the celebrated collection of the 
Count de Montbrizon at the Chateau de Saint Roch, 
and which passed through the collection of Mrs. 
Chauncey J. Blair in Chicago before entering that of 
Colonel Friedsam, are known. The two best known 
are those of Hampton Court and of the old Lancaster 
Collection at Lisbon. 

The portrait which passed from the Chateau of 
Fontainebleau to the Louvre Museum is certainly of 
an earlier date; 1t represents the king in all the brilliance 
of his youth before the Battle of Pavia, while the por- 
trait in the Friedsam Collection represents the king 
already worn by life and pleasures, with swollen and 
pasty features. To judge from the apparent age of 
the model, this painting must have been executed 


about 1535. 
BIBLIOGRAPHY 


G. Capon: 4 Portrait of Francis I by Fean 
Clouet, Paris, 1924. 


Lent by Colonel M. Friedsam. 
C2 


No. 45. JEAN CLOUET 


JEAN CLOUET 


No. 46. PortTraAIT OF CHARLOTTE OF FRANCE 


ON WOOD 
Height, 12 Inches; Width, 9 Inches 


Bust portrait of the young Princess facing right 
and a Rosary in her hands. The bodice of her dress 1s 
black and the sleeves are yellow. Her pink headdress 
is embroidered with pearls. 

Dr. Friedlander in commenting on this portrait 
states that it is an excellent work of the Master towards 
1540. 

Clouet painted another portrait of the Princess 
with several variations.’ It is described by L. Dimier 
in his History of Portrait Painting in France, Vol. I, 
pl. 5. No. 151. It was exhibited in Paris in 1904, 


Lent by Mr. Max Epstein. 


[114 ] 


JEAN CLOUET 


No. 46. 


JEAN CLOUET 


No. 47. Portrait oF ADMIRAL ‘(GUILLAUME GOUF- 
FIER, SIRE DE BONNIVET 


ON WOOD 


Height, 14 Inches; Width, 10% Inches 


He has blue eyes, the face is turned three-quarters 
to the left. Hair and beard light brown. He is repre- 
sented as a bust. On his head he wears a black soft 
hat, with a black ribbon on the top. He wears on a 
red vest, a green coat bordered with fur. In his left 
hand he holds a roll of paper and in the other hand a 
bouquet of pansies. Green background. On the top of 
the panel, on a banderole, 1s a devise: Fol Desir Novos 
Abvee. 

Exhibited in the Exposition of French Primitives, 
April-July, 1904, No. 145 of the catalogue as a work of 
Jean Clouet, painted about 1520. 

Reproduced in the Gazette des Beaux-Arts, No. 566, 
August, 1904, page 133; Guillaume Gouffier, Sir of 
Bonnivet, killed at Pavia in 1525, with the devise: Fo/ 
desir nous abuze (Excessive desires are abusive), 
Collection E. Richtenberger, a picture more fully and 
resolutely painted with a more vivid touch and stronger, 
if not more delicate than many of fanet’s works. Article 
of Mr. George Lafenestre. 


Reproduced in the work of Mr. Salomon Reinach, 
Paintings Unknown or Little Known, op. cit., plate 1z 
and described on page 24. Mr. S. Reinach add: 
This painting was in the collection of Prince of Valor 
where it was catalogued—a thing almost incredibles— 
the portrait of the sculptor Baccio Bandinelli by Holbein. 
In 1874 it was in the exposition for the benefit of the 
Alsaciens and Lorrains which was held at the Palats- 
Bourbon. 

When it became a part of the collection of Mr. 
Eugene Richtenberger, it was first considered by certain 
amateurs as a work of Corneille de Lyon. In 1904 at 
the exposition of the French Primitives, where it had 
the number 145, it was declared to be by Jean Clouet 
by Mr. Bouchot, who proposed to recognize in it the 
portrait of Guillaume Gouffier, Sir of Bonnivet, killed 
in 1525 at the Battle of Pavia. 


Paut Virry in Les Arts, 1904, No. 28, page 44. 


Lent by The City Art Museum in St. Louts. 
[116] 


No47), JEAN CLOUET 


JEAN CLOUET 


No. 48. PORTRAIT OF A YOUNG MAN 


ON WOOD 
Height, 97% Inches; Width, 8% Inches 


This charming portrait gives an excellent represen- 
tation of French Renaissance Art. 

The style of the painting is very similar to that of 
the well-known portrait of Francis I in the Louvre 
and that of his son in the Antwerp Museum. It re- 
sembles in execution also 4 Man Holding Petrarch’s 
Works in Hampton Court and the portrait of a Prince 
of Savoie, owned by Colonel M. Friedsam. Even the 
lingerie collar is pleated in the same manner as in the 
Friedsam portrait. 


BIBLIOGRAPHY 


Dr. W. R. VALentiner: in the Bulletin of the 
Detroit Institute of Arts, January and April, 
1926. 


Lent by the Detroit Institute of Arts. 


[118] 


No. 48. JEAN CLOUET 


JEAN CLOUET 
(1467-1540) 


No. 49. PorTRAIT OF GUILLAUME BuDE 
ON WOOD 


Height, 155% Inches; Width, 1358 Inches 

In the last Volume of the Collection of MSS., dat- 
ing from 1534 to 1539, by the Scientist Budé himself, 
there is a note: Pictor iconicus qui me pinxit ME 
GENET CLOUET vocatur, according to which he was 
about 70 years old when Clouet painted him. This 
quite agrees with the portrait itself. 

A drawing at Chantilly is obviously the original 
drawing for this painting. Moreau-Nelaton points 
out that the drawing was stained with the same bluish- 
green as the background of this portrait. A copy of 
this portrait in the Versailles Museum bears the In- 
scription: Guglielmus Budaeus, and the various en- 
graved portraits go to prove the probability of this 
identification. 

The Greek inscription on the book has, according 
to Professor Leo A. Hanigan, the following meaning: 

To get possession of whatever one desires appears 
to be important; but really what is of most im- 
portance 1s to desire nothing unless it 15 
absolutely necessary. 

Budé was the greatest Helenist of his time. Under 
Louis XII and Francis I he accomplished various dip- 
lomatic missions. Upon his recommendations were 
founded the College of France and the famous Library 
in Fontainebleau. He drew the plans for the St. Ger- 
main quarter and introduced pavement in the streets 
of Paris. He left numerous scientific works. Erasmus 
called him the Marvel of France. 

This portrait was formerly in the Collection of Sir 
Henry Howorth in London. 


BIBLIOGARPHY 

ANDRE THEVET: Portraits et Vies des Hommes 
tllusires Grecs, Latins, et Payens Pat 
1584. 

Henry Boucuot: Les Clouets. Paris, 1892, 
Dee: 

E. Moreau-NELaton: Crayons Francais du 
XV Ie Siécle conservés au Musée Condé a 
Chantilly. Paris; Vol aly pe lees 

E. Moreau-NEtaton: Les Clouets. Paris, 1924. 
Vol. I. p. 54. 

ArtHUR E. PopHam: 4 Portrait by Fehannet 
Clouet. Burlington Magazine, London, 
March 19235 ales 

Lent by Mr. Leo S. Bing. 
[120] 


No. 49. JEAN CLOUET 


FRANCOIS CLOUET 


BORN AT TOURS, ABOUT 1516 
DIED ON SEPTEMBER 22, 1572 


Francois CLovet, surnamed Janet, as his father 
Jean, was considered by his contemporaries as the 
greatest of French painters. The poet Ronsard called 
him “The Honor of our France.’ He inherited all the 
offices of his father, was official painter to the kings of 
France, Francis I and Henri II, and controller of de- 
signs for moneys. 


The Louvre possesses his masterpiece, signed in 
large letters and bearing the date of 1562. It is the 
portrait in natural size of his friend the druggist and 
botanist, Pzerre Quthe. This painting, which is indis- 
putably genuine, may now serve as a criterion and 
point of comparison to verify the attributions of the 
works not signed, at the head of which are placed the 
portraits of Charles TX, in the Vienna Museum. For 
this reason, we must doubtless eliminate the charm- 
ing portrait of Elizabeth of Austria, Queen of France, 
which belonged to Roger de Gaigniéres before coming 
to the Louvre and which seems rather a work of Etienne 
Dumoustier. Beside the painted portraits, Francois 
Clouet has left us admirable crayons that are divided 
among the National Library of Paris and the Condé 
Museum of Chantilly. 


tao 


BIBLIOGRAPHY 


E. Moreau-Netaton: The Clouets, official 
painters of the French kings, Paris, 1908. 

Henri Stein: The painter Francois Clouet and 
the druggist Pierre Quthe. Memoires de 
la Société de [ Histoire de Paris et de Tile de 
France, 1909. 


[123] 


FRANCOIS CLOUET 


No. 50; PoRTRAIT OF CHARLES IX 


ON PANEL 
Height, 12% Inches; Width, 9 Inches 


The young prince, completely beardless, is repre- 
sented in bust, slightly turned to the left. His pale 
features are encircled with a pleated collar. He is 
elegantly dressed in a black velvet doublet, enriched 
with pearls and bands of greyish fur, and is covered by a 
toque with a white feather. On his breast hangs the 
necklace of the Order of Saint Michael founded by 
Louis XI. It is known that the Order of the Holy 
Ghost was instituted only four years after his death 
by his brother Henri III. 

This beautiful portrait most likely dates from 1566; 
it reproduces exactly the type of the great Charles IX 
of the Vienna Museum, of which the Louvre possesses 
a small replica. The crayon which served as model to 
these portraits was found in the Design Cabinet of the 
Hermitage Museum at Petrograd. 

From the Collections: M. von Beckerath, Berlin, 
and the Chateau de Nijenrode in Holland. 


BIBLIOGRAPHY 


Catalogue of the collections of the Chéteau de 
Nujenrode (Pretace by Dr. Max J. Friep- 
LANDER), Amsterdam, 1923. 

E. Moreau-NeEvaton: The Clouets and Their 
Imitators, Paris, 1924. 


Lent by Colonel M. Friedsam 


[ 124] 


No. 50. FRANCOIS CLOUET 


FRANCOIS CLOUET 


No. 51. Portrait PRESUMABLY OF THE DONeOE 
MaxImMILian II 


ON PANEL 


Height, 7% Inches; Width, 5% Inches 


On a sombre grey background is seen the pale head 
of a sickly youth. He is coquettishly coiffured with a 
black toque with red feathers and wears a magnificent 
yellow embroidered doublet over which is thrown a 
black mantle bordered with fur. 


If this young man is the son of the German Em- 
peror Maximilian II, he 1s the brother-in-law of the 
French King Charles IX. This prince in fact married 
on November 27, 1570, the second daughter of Maxi- 
milian II, Elizabeth of Austria, a pretty portrait of 
whom is in the Louvre, attributed by tradition to 
Francois Clouet.* It is possible that the artist exe 
cuted this portrait of the brother at the time of the 
coronation of the young queen, in 1571. 


Lent by Colonel M. Friedsam. 


No. 51. FRANCOIS CLOUET 


FRANCOIS; CLOUD 


No. 52. Portrair or JACQUES DALBON DEW ot 
ANDRE, MARECHAL DE FRANCE 


ON WOOD 


Height, 8% Inches; Width, 6% Inches 


Assuming that the portrait shows him at the age of 
about 40, it must have been painted in about 1545. 

Jacques d’Albon was born in 1505. He was a 
favorite of Henry II of France who made him a Mar- 
shal, Governor of Lyonnais and Ambassador to Eng- 
land. He served with great bravery against the Em- 
peror Charles V in 1552. In 1557 he was taken prisoner 
at the battle of St. Quentin, but was released the fol- 
lowing year, and took part in negotiating the peace of 
Cateau-Cambresis. 

After the death of Francis II he formed in 1561 
with the Constable de Montmorency and Francis, 
Duke of Guise, an alliance known as the Triumvirate 
against the Protestants and the Queen-Mother. He 
was killed at the battle of Dreux in 1562. 

A drawing for this portrait is at the Hermitage at 
Petrograd. 

Jean Guiffrey and L. Dimier agree in giving this 
beautiful portrait to Francois Clouet. 


Lent by Mr. Albert Keller. 


[128] 


FRANCOIS -CLOUET 


No. 53. Porrrarr oF MADAME DE PIENNE, DAUGH- 
TER OF ADMIRAL CHABOT 


ON WOOD 


Height, 1414 Inches; Width, 10 Inches 


Anna de Pienne is represented in bust, slightly 
turned to the left, with blond hair and blue eyes. The 
elegant headdress is richly adorned with pearls and 
she wears a necklace and a row of pearls with a mag- 
nificient jewel on her breast, all of beautiful work- 
manship. 

The execution is of great perfection, with a firm 
design and distinction in the local colors. The portrait 
shows a supreme refinement, such as flourished in 
France at the Courts of the last Valois. _ 

This style was in vogue during the reign of Charles 
IX, about 1560. 

The portrait of Elisabeth of Austria, wife of Charles 
IX, one of the gems of the Louvre, is painted exactly 
as this picture. It is the same fine and smooth execu- 
tion and the same brushwork in every detail. 

In the British Museum there is a drawing for this 
portrait (Salting donation) with the name Madame de 
Pienne. 

Her father, Philippe de Chabot (died in 1543), was 
one of the favorites of Francis I. He was made pris- 
oner at the same time as the King at the battle of 
Pavia in 1525. Subsequently Francis I made him an 
Admiral and Governor of Bourgogne and the Nor- 
mandy. Anna married Charles de Hallium, Sire de 
Pienne. L. Dimier in Histoire de la Peinture de Portraits 
en France au XV Ie Siécle, reproduces the drawing in 
Vol. Iypl) 26. 


Lent by F. Kleinberger Galleries. 


[ 130 ] 


No. 53. FRANCOIS CLOUET 


FRANCOIS CLOBE? 


No. 54. Portrait oF A YOUNG WomMAN 


ON PANEL 


Height, 13 Inches; Width, 9% Inches 


Represented to the waist, without her hands, the 
attitude and expression of her pretty face are some- 
what rigid and stiff. She is dressed in a corsage of 
white emboidery, with turned-back sleeves entirely 
studded with rubies. On her breast there flashes a 
magnificent pendant and pearl necklace. On her co- 
quettishly wavy hair, tied by a pearl headdress, there 
rests obliquely a small black toque of supreme elegance 
ornamented with a large white feather. 

Who is this young lady, the sumptuous toilette of 
whom recalls somewhat that of Queen Elizabeth of 
Austria, in the small picture in the Louvre Museum. 
It is hard to tell exactly. But she is certainly a princess 
or a great lady of the Court of Valois. 

This portrait, which belonged to the Count de 
Montbrizon at the Chateau de Saint-Roch in France, 
then passed into the collection of Mrs. Chauncey J. 
Blair, Chicago. 


Lent by Colonel M. Friedsam. 


[ 132] 


FRANCOIS CLOUET 


ek 


No 


FRANCOIS CLOUET 


INOg So, PorTRAIT OF A WoMAN 


ON PANEL 


Height, 8 Inches; Width, 6% Inches 


In frontal bust, on a greenish-brown background, 
she wears around her neck an enormous fluted ruffle. 
Her strawberry red corsage is trimmed with a prodig- 
ality of pearls and ribbon bows. By way of headdress, 
a trimming of ribbons in red and white is wreathed in 
her heavy black hair. 

This picture comes from the Ferdinand Hermann 
Collection at New York. 


Lent by Colonel M. Friedsam. 


[ 134] 


ET 


FRANCOIS CLOU 


Now 55. 


FRANCOIS CLOUET 


Noise PorTRAIT OF A Man 


ON PANEL 
Height, 5% Inches; Width, 434 Inches 


In bust, slightly turned to the right, he wears a 
moustache and a short beard of square form. A guipure 
collar falls down in two points terminated by tassels 
on his black doublet. 

No emblem, no inscription reveal the identity of the 
mysterious personage. However, he offers a certain 
resemblance to the crayon in the Condé Museum at 
Chantilly, which represents Jean, Seigneur de Taix. 


Lent by Colonel M. Friedsam. 


[ 136 J 


No. 56. FRANCOIS CLOUET 


FRANCOIS. CLOUET 


INOg 72 PorTRAIT OF A YOUNG LADY 


ON WOOD 
Height, 127% Inches; Width, 10 Inches 


Attired entirely in black, she must have been wid- 
owed at the time the portrait was painted. There are 
only a double row of pearls around the neck and some 
dark beads thrown over the shoulders for adornment. 
Also the white pleated collar is lined with black. The 
background is light brown. The effect of the delicate, 
almost monochrome painting is one of great distinction. 


Lent by Mr. Leo S. Bing. 


[138] 


FRANCOIS CLOUET 


No. 57. 


CORNEILLE DE LYON 


BORN AT THE HAGUE IN 1505 
DIED AT LYON IN 1574 


Master Corneille belongs to that numerous constel- 
lation of painters of the Low Countries who came to 
seek their fortunes in France and found there a second 
fatherland. 

He went to Paris, while very young, where he was 
probably the pupil of the old Jean Clouet. But he did 
not remain there, and preferred to establish himself 
definitely at Lyon in 1544: hence his surname, Corneille 
de Lyon, under which the Dutch refugee is known, 
who had previously been called Corneille of The 
Hague. Having broken all ties with his native country, 
he asked and received in 1547 naturalization papers 
from King Henri II. 

At first sight it is hard to explain that this painter, 
established in the province, could have continued to 
make so many portraits of the royal family and the 
great lords of the French Court. But the court made 
frequent trips to Lyon and it is quite possible that 
Maitre Corneille worked on the designs of the Clouets or 
other artists attached to the person of the king. 

The chronicler Brantome relates that in 1564 
Catherine de Medici, having come to Lyon with King 
Charles IX, visited “a painter by the name of Cor- 
neille, who had in a large room all the great lords, 
princes, cavaliers, princesses, dames, and daughters of 
the Court of France.”’ Basing our statements on this 
report, we instinctively attribute to Corneille de Lyon 
all the small portraits painted with so light and trans- 
parent a touch, generally on light blue or water green 
backgrounds, representing the personages of the French 
Court under the reigns of Henri II and his three sons. 

It is probable that the artist himself painted a large 
number of these small portraits; but, he had pupils, 
imitators in France and abroad. M. Louis Dimier has 
made an effort to distinguish some of these copyists or 
their emulators: The Pseudo-Amberger, the Maitre de 


[ 140 ]} 


Rieux-Chateauneuf. A delicate task, often conjec- 
tural, but necessary, for in the present state of our 
knowledge, the name Cornielle de Lyon designates 
rather a kind of vogue in the sixteenth century than 
the work of a definite artist. 

The celebrated collector, Robert de Gaigniéres, had 
collected a large number of these small portraits, the 
iconographic interest of which he well recognized. 
After the museums of Versailles and Chantilly, the 
collection of Colonel Friedsam offers today the largest 
choice and the most refined one. 


BIBLIOGRAPHY 


Henri Boucuor: The Clouets and Corneille de 
isyon, Paris, 1892. 

Aupin ET VIAL: Dictionary of Artists and 
Writers on Art in France: Lyon, Paris, 
1918. 

Louis Dimier: History of Portrait Painting in 
France in sixteenth century, Paris, 1925. 

GavarD, C.: Galeries historiques du palais de 
Versailles, v. VII, pl. 1922. Paris, 1838. 

Moreau-Ne.aton: Le Portrait a la cour des 
Valois (Crayons francais du XV Te siécle), 
Paris, 1908. 

RicuTer, Louise M.: Chantilly in History and 
wart, \ondon, 1913. 

Micue-: Histoire de l’art, v. IV, pt. 2, p. 760. 

Hovrerique, L.: Art in France, 170-171, New 
Mark. 1911. 

Ranpor: Les Peintres de Lyon. 

Germain, A.: Les Artistes lyonnais, p. 71. 


[141 ] 


CORNEJLLE DE LYON 


No. 58. PorTRAIT OF A Son oF FRANCIS [| 


ON PANEL 


Height, 634 Inches; Width, 534 Inches 


In bust figure, three-quarters, turned to the right, he 
is covered with a black toque decorated with a large 
white feather. He wears on his black doublet a soft 
collar terminating in two points to which tassels are 
attached. A thin gold chain supporting a medallion 
falls on his breast. 

Who is this young unbearded pallid youth with 
expressionless eyes? He passed in the Parravicini 
Collection of Basel for René de Puy, gentleman of the 
Court of Francis I. But if we compare this portrait 
with its replicas at the Condé Museum at Chantilly 
and the National Gallery of London (Salting Collec- 
tion), one is tempted to conclude that it is probably 
one of the sons of the king; that is, the Dauphin 
Francois, as is mentioned by M. Moreau-Nelaton. 
According to M. Dimier, it is Monsieur d’Orleans, 
third son of King Francis I. 


Former Collection: Parravicini at Basel, Switzerland. 


Lent by Colonel M. Friedsam. 


[142 ] 


CORNEILLE DE LYON 


20. 


No 


CORNEILLE DE LYON 


No. 59. Porrrair oF JEAN D’ALBON, SEIGNEUR 
DE SAINT ANDRE 


ON PANEL 


Height, 634 Inches; Width, 534 Inches 


On a light green background rises the energetic and 
intelligent figure of an old gentleman, entirely shaven. 
The full-cheeked face, with double chin, starts to get 
pasty with age. He is covered with a small toque of 
black velvet and sumptuously robed with a loose cloak 
of grey bordered with a large band of fur. His chest 
is barred with a thin gold chain on which hangs a 
medallion. 

Several reproductions of this magnificent portrait 
are known: in the old collection of Charles Butler of 
London, at the Louvre, at the Museum of Clermont- 
Ferrand and in the ancient Pelous Collection. The 
Louvre copy, which comes from the Timbal Collec- 
tion, bears the inscription: Monsieur de Saint André 
placed above the panel. A window of the church of 
Saint André d’Apchon in the Department of the Loire 
reproduces the features of this personage, who is none 
other than Jean d’Albon, Seigneur de Saint André, 
governor of Lyon and of the Bourbonnais, chevalier of 
honor of Catherine de Medici, father of the famous 
Marshal Saint André, who was the favorite of Henry II. 
As he died in 1550, this portrait may be dated from 
the last years of Francis I. 

A controversy arose in connection with this paint- 
ing because of the inscription, which is entirely dif- 
ferent from the copy in the old collection of Charles 
Butler in London, on which there is the legend: “Jean 
de Rieux, Comte de Chateauneuf.”’ Mr. Louis Dimier 
rallies to this identification and proposes a new attribu- 
tion. Although he formerly published this master- 
piece under the name of Corneille de Lyon, he attributes 
it today to an anonymous painter whom he has bap- 
tised the. Painter of Rieux-Chateauneuf. dt is not 
that he finds it unworthy of Corneille de Lyon; very 
much to the contrary: for he considers this hypothetic 
painting as superior to all its rivals and he praises its 

[144] 


warm coloring and brilliant finish, the vigorous model- 
ing and its spiritual touch. 


BIBLIOGRAPHY 

KE. JEANNEY ET J. DECHELETTE: The Windows 
of Saint-André d’Apchon. Bulletin de la 
Diana, 1897. 

Lours Diuter: An unknown work of Corneille 
de Lyon. Revue del Art Ancien et Moderne, 
feed. 1902.5" Aistory of Painting in 
France in the sixteenth century, Paris, 1925. 

Paut-AnpDRE LEmoIsne: Paintings in the Louvre 
Museum. French School of the fourteenth, 
fifteenth, and sixteenth centuries, Paris, 


Te 26.. 
Lent by Colonel M. Friedsam. 


No. 59. CORNEILLE DE LYON 


CORNEILEEsDE-DYON 


No. 60. Portrait or MonsiEuR DE LA Nove 


ON PANEL 


Height, 7 Inches; Width, 5% Inches 


An inscription painted above the panel gives the 
name of the person. He is represented in bust, slightly 
turned to the right. Intelligent figure, illuminated by 
eyes of greenish blue, moustache and beard of brown 
color carefully cut in square which emphasizes the 
white edge of a lingerie collar. Toque and doublet 
black. 

This portrait of a man comes from the collection of 
the American painter, Walter Gay of Paris. 


Lent by Colonel M. Friedsam. 


CORNEILLE DE LYON 


No. 61. Portrait oF A Man 


ON PANEL 


Height, 7% Inches; Width, 6 Inches 


One might say that this represents a Calvinist 
doctor. Covered with a square bonnet, with severe 
looks, elongated features, heightened by a reddish 
brown beard ending in two points, he wears a dress of 
black color without any ornamentation. Background, 
dark grey. 


Lent by Colonel M., Friedsam. 


[146] 


No. 60. CORNEILLE DE LYON 


No. 61. CORNEILLE DE LYON 


CORNEILLE DEWEY Os 


No. 62. PortTRAIT OF THE DUKE DE COSSE-DRIUSEe 


ON WOOD 


Height, 8% Inches; Width, 6 Inches 


Slightly turned to the left, he wears a dark brown 
béret with a white ostrich feather. He has blue eyes, 
blond hair, mustache, and beard. Attired in a dark 
brown doublet showing white sleeves with blue stripes. 
Ahe background i is a hight water-green. 

Executed in the artist’s best manner with a beau- 
tiful transparent, delicate touch. 

Dr. Friedlander described this charming portrait in 
a very appreciative manner. 

The picture passed through the following impor- 
tant collections: 

M. Colbert, Finance Minister of Louis XIV. 

The King of Hanover. 

The Duke of Brunswick. 

The Duke of Cumberland. 

Collection B. Haussman, Hanover. 

Exhibited at the Hanover Museum since 1894. 


Lent by Mr. Fules S. Bache. 


[ 148 ] 


CORNEILLE DE LYON 


No. 62 


CORNEILLE DE LYON > 


INOz.63¢ PorTRAIT OF A NOBLEMAN 


ON WOOD 


Height, 8% Inches; Width, 6 Inches 


Seen almost full face, he wears a black Jbéret with a 
black feather. Brown beard and mustache surround a 
strong, virile face. A black doublet, showing white 
sleeves, is closed in front by six brown buttons. 

A light water-green background makes this charm- 
ing portrait stand out to great advantage. Painted 
in the artist’s best manner with a transparence like 
that of enamel.—Dr. Friedlander: “a beautiful work of 
the Master.” 

The picture passed through the following important 
collections: 

M. Colbert, Finance Minister of Louis XIV. 

The King of Hanover. 

The Duke of Brunswick. 

The Duke of Cumberland. 

Collection B. Haussman, Hanover. 

Exhibited at the Hanover Museum since 1894. 


Lent by Mr. Fules S. Bache. 


(S07) 


No. 63. CORNEILLE DE LYON 


CORNEILLE DE LYON 


No. 64. Portrait or JACQUELINE DE Rowan, Mar- 
QUISE OF ROTHELIN 


ON PANEL 


Height, 834 Inches; Width, 7 Inches 


Half figure slightly turned to the right, this graceful 
young woman is represented on a light green back- 
ground. She has a dark headdress on her blond curly 
hair and a wide-sleeved black robe on which is set off 
the white of the collar slightly opened. A pearl neck- 
lace on her neck, a gold chain on her corsage compose 
her trimmings of sober richness. 

This portrait, full of distinction, comes from the 
Pelletier Collection of ‘Pans; 


Lent by Colonel M. Friedsam. 


CORNEILLE DE LYON 
No. 65. Porrrair oF MADEMOISELLE DE COSSE 


ON PANEL 


Height, 634 Inches; Width, 5% Inches 


An inscription above the panel gives the name of 
this young woman of sad and gloomy countenance. 
Turned toward the left she is represented in bust on a 
light green background. She wears a severe black and 
grey costume. A dark veil falls from her headdress 
placed very much behind on the top of her head, so as 
to free the forehead and hair. 

Her physiognomy recalls a portrait in the Condé 
Museum at Chantilly which is supposed to represent 
Gabrielle de Rochechouart, dame de Lansac. This 
delicate portrait comes from the Walter Gay Collec- 
tion at Paris. 


Lent by Colonel M. Friedsam. 
[152] 


ON 


CORNEILLE DE LY 


No. 64. 


CORNEILLE DE LYON 


365. 


oO 


N 


CORNEILLE DE LYON 


No. 66. Porrrair or LoutsE DE HALLEwyn, DAME 
DE CyPIERRE 


ON PANEL 


Height, 8 Inches; Width, 634 Inches 


The subject of this portrait has been identified as 
Louise de Hallewyn (Halluin, Hallewin) who in 1560 
was. married to Philibert de Marcilly, seigneur de 
Cypierre, governor of King Charles IX. A painting of 
the same lady, almost identical with the Ryerson panel, 
is in the Museum at Versailles (Soullie catalogue, 
#3205). The Versailles painting is engraved in Ga- 
vard’s Galeries historiques de Versailles, v. VU, #33 of 
Corneille de Lyon’s catalogue. Dimier dates the pic- 
ture at about the year 1555. The Versailles panel is 
somewhat smaller than Mr. Ryerson’s, measuring 7144” 


by 5%”. 


Lent by Mr. Martin A. Ryerson. 


CORNEILLE DE LYON 


No. 67. Portrait or MonsiEuR DE VALE, GENTIL- 
HOMME DU Roi 


ON PANEL 


Height, 634 Inches; Width, 5% Inches 


He wears a black hat with white feather. His hair, 
beard and moustache are dark brown. White em- 
broidered collar, black coat with fur trimming. 


_ This portrait was formerly in the Woog Collection 
in) Parise 


Lent by Mr. Mortimer L. Schiff. 
[ 154 ] 


No. 66. CORNEILLE DE LYON 


No. 67. CORNEILLE DE LYON 


CORNEILLE DE LYON 


No. 68. PorTRAIT OF A Monk 


ON PANEL 


Height, 634 Inches; Width, 5 Inches 


This young monk with ruddy features was the con- 
fessor, probably very indulgent, of King Francis I. 
He is represented in bust, turned to the right. Some 
tufts of hair in curls fringe his broad tonsure. He is 
robed in a grey hooded frock. This clear, transparent 
painting of sure design and so precise as to remind 
one of Holbein, comes from the Pelletier Collection in 
Paris. 


Lent by Colonel M. Friedsam. 


CORNEILLE DE LYON 


No. 69. PorRTRAIT OF AN O_p Man 


ON PANEL 


Height, 8% Inches; Width, 6 Inches 


He is represented in bust, slightly turned to the 
left. The name of this austere personage is not known. 
The face is wrinkled, the cheeks hollow, his veins pro- 
truding on his temples. His square bonnet, his long 
grey beard and his black garment give him the ape 
pearance of a Huguenot doctor or a preacher. 

This portrait comes from the collection of Count 
de Montbrizon, Chateau de Saint-Roch, in France. 


4 
Lent by Colonel M. Friedsam. 


[156] 


No..68. CORNEILLE DE LYON 


No. 69, CORNEILLE DE LYON 


CORNEILLE DE EYOn 


No? a0) PorTRAIT OF A YOUNG LADY 


ON PANEL 


Height, 8 Inches; Width, 63% Inches 


Against a black background the figure of a young 
lady, turned slightly to the right is, shown. She wears 
on her dark brown hair a yellow-brown bonnet. 
Draped around a high white collar, open in front, is a 
light transparent shawl which falls over her shoulders. 

The corsage is pink and red, while the sleeves are 
white with yellow-brown stripes. 

The only ornaments are pearl earrings, a necklace 
of pearls and rubies, and a pendant on her corsage. 


Lent by Mr. Alexander M. Bing. 


[158] 


YON 


E DE L 


CORNEILL 


No. 70. 


CORNEILIE DEAEYON 


INO GHA Ls PorRTRAIT OF AN O_p MAn 


ON PANEL 


Height, 7 Inches; Width, 534 Inches 


On a greyish brown background there is seen the 
vigorous figure of a man with hollow features, grey 
moustache and beard. His cloak, with tucked up 
collar, is of the same dark brown color as his headdress. 

The design of this austere portrait 1s of remarkable 
precision; the locks of hair and the hairs of the beard 
are detailed with an application of the miuniaturist, 
without this effort at minute details at all hurting the 
ensemble. 


Lent by Colonel M. Friedsam. 


CORNEILLE DE- LYON 


Nosae: PoRTRAIT OF A BEARDED MAn 


ON PANEL 


Height, 734 Inches; Width, 6% Inches 


His fine face, turned to the right, is represented 
on a green background. He has a thick moustache of 
light brown and an abundant beard which encases his 
cheeks and ends in two points. His very simple gar- 
ment, without the least jewelry, is made up of a velvet 
toque and a black doublet with a white collar largely 
hidden by his beard. 


Lent by Colonel M. Friedsam. 


[160] 


No. 71. CORNEILLE DE LYON 


No. 72. CORNEILLE DE LYON 


CORNEILLE DE EYON 


INOSefat PorTRAIT OF A Man 


ON PANEL 
Height, 634 Inches; Width, 534 Inches 


This portrait coming from the Woog Collection of 
Paris, represents a man with blond beard of a square 
cut, wearing a black hat with gilded trimmings. 


Lent by Colonel M. Friedsam. 


CORNEILER DE LYON 


No. 74. PorTRAIT OF A Man 
ON PANEL 
Height, 6% Inches; Width, 5% Inches 


Represented in bust, in front view. A very brisk 
moustache and a square beard stifle his rather coarse 
face with a strong expression. With his right hand, 
the only one visible, he holds on his chest the flaps of 
his black mantle. 


Lent by Colonel M. Friedsam. 


[ 162] 


No. 73. CORNEILLE DE LYON 


No. 74. CORNEILLE DE LYON 


CORNEILLE DE -EYON 


Naso: PorTRAIT OF A Man 


ON PANEL 


Height, 10 Inches; Width, 7% Inches 


On a dark green background there is seen the figure 
of a man with dark moustache and beard. His hat is 
inclined to the right. Bands of fur decorate his gar- 
ment in front, on the sleeves and on the shoulders. He 
has taken the glove off his right hand in order to open a 
package with a knife. The left glove is turned back 
and allows a view of a part of the hand. 

This portrait has passed through the collections of 
the Count de Montbrizon and of M. Sulzbach, Paris. 


Lent by Colonel M. Friedsam. 


CORNEICUEE DE EYOs 


No. 76. PortTRAIT oF A Man 


ON PANEL 


Height, 9% Inches; Width, 7% Inches 


His lean and bony features are set off by a drooping 
moustache and a short spare beard of reddish brown. 
He is dressed in a black pleated doublet, strictly fitted 
around the neck, which is surrounded by a fluted white 
collarette. The most striking feature of his costume 
is his exceptionally tall headdress, rather convex, 
encircled by a ribbon with a broad rosette in front. 

An inscription at the top of the panel gives the date 
as 1570 and the age of the personage as thirty-two 
years, but unfortunately it does not reveal his name. 


Lent by Colonel M. Friedsam. 
[ 164 ] 


No. 76. CORNEILLE DE LYON 


CORNEILLE DE LYON 


INO PorRTRAIT OF A BEARDLESS MAn 


ON PANEL 


Height, 5% Inches; Width, 44% Inches 


Bareheaded and completely shaven, he is gazing to 
the right. Abundant curly hair encases his brow. The 
eyes have an energetic and wilful expression. He wears 
a black doublet with a white collar. Around his neck 
there is a large gold link chain. 


This portrait comes from the collection of the 
Count de Montbrizon, Chateau de St. Roch, in France. 


Lent by Colonel M. Friedsam. 


CORNEILLE DE, LYON 


No. 78. PorTRAIT OF A MAn 


ON WOOD 


Height, 63% Inches; Width, 51% Inches 


Turned towards the right, he wears a black toque 
with a dark feather. Light brown hair, moustache and 
beard. He is attired in a black coat, closely buttoned 
to the neck, where a pleated collar is visible. 

Yellow-brown background. 


Lent by Mr. Leo S. Bing. 


[ 166 ] 


No. 77. CORNEILLE DE LYON 


No. 78. CORNEILLE DEfLYON 


CORNEILLE DE LYON 


No. 79. PorTrair oF ANTOINE DE BourBon, KING 
OF NAVARRE 


ON WOOD 


Height, 8¥2 Inches; Width, 6 Inches 


At the bottom is an inscription: Antoine de Bour- 
bon, Roi de Navarre. Painted about 1555. 

The King is represented in bust, slightly turned to 
the right. The fine features of the delicately painted 
head are surrounded by an abundant chevelure. He 
wears a white doublet with high collar. The back- 
ground 1s green. 

Antoine de Bourbon was born in 1518 as the oldest 
son of Duke Charles de Vendéme. He married in 1548 
Jeanne d’Albret, daughter of Henry II of Navarre. 
In 1553 their son, who became King of France, Henry 
IV, was born.in Pau. With his brother, Louis de 
Condé, Antoine headed the Huguenot-Bourbon move- 
ment against the Guise, but was arrested and was lib- 
erated only after the death of Francis II, December 5, 
1560. He became Regent thereafter and joined the 
Catholic Triumvirate of Duke Francois de Guise, the 
Connétable de Montmorency and Maréchal de St. 
André; fought against the Huguenots; captured Bourges 
and attacked Rouen, in 1562, where he was fatally 
wounded. | 

From the Collections: Sir Fohn Stromberry, London, 
1862; Fohn Heugh, London. 

Exhibited: Royal Academy, London, 1873, No. 174. 

Algernon Graves: Loan Exhibitions, Vol. II, p. 588. 


Lent by F. Kleinberger Galleries. 


[168 ] 


CORNEILLE DE LYON 


No. 79. 


CORNEILLE DE LYON 


No, 80. PorTRAIT OF A WoMAN 


ON PANEL 


Height, 734 Inches; Width, 534 Inches 


Three-quarters to the right, her features are irregu- 
lar with a rather broad forehead. Represented on a 
light green background. The severity of her garments 
and her dark veil is lightened by the brilliance of the 
jewels that adorn her neck and shoulders. 

From the collection of the Count de Montbrizon at 
the Chateau de Saint-Roch in France, this portrait 
passed to America into the collection of Mrs. Chauncey 


J. Blair, Chicago. 


Lent by Colonel M. Friedsam. 


CORNEILLE DE LYON 


No. 81. PoRTRAIT OF A YOUNG WomMAN 


ON PANEL 


Height, 634 Inches; Width, 5% Inches 


She is turned to the right. On her red undulating 
hair there is resting far in the back a white hood held 
up by two circles of gold ornamentation, set off with 
pearls, from which falls a dark veil. She wears a 
corsage of black decolleté with a small ruche around 
the neck and puffed yellow and black sleeves. A mag- 
nificent pear-shaped pearl is hanging on her breast. 

This precious little.panel has successively passed 
through the collections of Count Gaigniéres, Count 
Georges de Montbrizon, and Madame la Marquise de 
Ganay. 


Lent by Colonel M. Friedsam. 
[170 ] 


CORNEILLE DE LYON 


FRENCH SCHOOL OF THE XVITE CENT Gi. 


Nor8 2: Portrait oF A Man 


ON PANEL 


Height, 1434 Inches; Width, 11% Inches 


Represented in bust, three-quarters, turned to the 
right. His expression is rather energetic. His hair is 
thick set, unlike the hairs of his moustache and beard 
which are sparse. He is dressed in a black doubtlet 
with large bands of fur. A shirred collar, tied under 
the chin by two threads, gives a white note in this 
gamut of dark colors. We share the view of Dr. Max 
J. Friedlander, who believes this painting to be of 
French origin. 


Lent by Colonel M, Friedsam. 


FRENCH SCHOOL OF THE XVITH Grae ia 


No. 83. PortTrRAtItT oF A MAn 


ON PANEL 


Height, 10% Inches; Width, 7% Inches 


This unknown personage was most likely an opulent 
lord, in spite of the roughness of his features and the air 
of negligence that the long and rather badly combed 
hair, the locks of which fall on his forehead and along 
his cheeks, give him. For above his black doublet 
which gives a view of his white shirt through a cut in 
the collar, he wears a magnificent fur of spotted ermine. 
He is covered with a flat-topped red bonnet placed 
obliquely on his head. 

This strikingly realistic portrait comes from the 
celebrated collection of the banker Aynard of Lyon. 

It has figured at the Exhibition of French Primi- 
tives of 1904, No. 142, in the catalogue of which it is 
stated to be of about 1530 and to represent a Sezgneur 
francais de la Cour de Francois I. 


Lent by Colonel M. Friedsam. 
[roa 


No. 82. FRENCH SCHOOL OF THE XVItx CENTURY 


NO. 83. FRENCH SCHOOL OF THE XVIta CENTURY 


FRENCH SCHOOL OF THE® XVITH IGEN GGRas 


No. 84. PoRTRAIT OF THE SEIGNEUR DE MONCHEAU 


ON PANEL 


Height, 9 Inches; Width, 634 Inches 


He is represented in half body om vagred= back 
ground, slightly turned to the right, his two hands 
crossed on his breast. His grave visage, which is 
elongated by a large forehead and a pointed beard, is 
encased in a plain white collar. There hangs on his 
black garment a double gold chain. He is holding a 
pair of gloves in his right hand. 

On the left there are the armorials and the motto: 
En Espérant. On the right an inscription gives us his 
age and the date of the portrait. Aeta Suae 80, 6 
months, Anno 1605. This double inscription, to tell 
the truth, warrants caution. In spite of his sparse 
hair and grey beard, the Seigneur de Moncheau does 
not look like an octogenarian and it is hard to believe 
that this portrait was executed as late as the beginning 
of the seventeenth century, under the reign of Henry 


IV. 


Lent by Colonel M. Friedsam. 


[174] 


NO. 84. FRENCH SCHOOL OF THE XVItrx CENTURY 


ei 
OBJECTS OF ART | 


ENAMELS 


The origin of enamels is unknown and its use dates 
back into antiquity. We know that the Egyptians and 
Assyrians enamelled the walls of palaces, and as yet 
no work of such magnificence as the great enamelled 
walls of the palace of Rameses III at Tell el-Yehudia 
in the Delta of the Nile has been discovered upon 
metal of any kind. Subsequent Greek and Roman 
civilizations used enamel largely on articles of personal 
adornment. The next time we hear of the use of 
enamel is in a passage from the writings of the sophist 
Philostratus (A. D. 240), who says: (Icones, 1. 28). 
It is said that the barbarians pour these colors into 
moulds, that the colors become hard as stone, preserving 
the designs. This is a more or less accurate ‘description 
of the process of CHAMPLEVE enamelling, while the 
barbarians referred to are Celts from the British 
Islands. 


From then on we find many references to enamels, 
even though at times this exquisite art, which seemed to 
thrive only under the sunshine of an opulent luxurious 
era, declined and almost disappeared completely. The 
objects which have been found show that enamelling 
was known throughout Europe during the Middle 
Ages, although the pieces vary greatly in style and in 
design as well as in technique. 

Several kinds of enamels are to be found in gold an 
silver works. The CLOISONNES or partitioned, 
which the design is formed by thin strips of went 
soldered on edgeways to the face of the plate which 
serves as a base, 1s the oldest type. The Byzantines 
and Chinese were experts in the use of this form. 
The thin strips of metal, form the setting which holds 
the colored enamel, much as a setting holds a jewel. 
Another method of enamelling is the CHAMPLEVE 
in which the plate is hollowed out with an engraver, 
the sides being left projecting in such a way that 
the design is cut into the metal and the grooves form 
a setting for the enamels. Again there is the 


ized 


PAINTED ENAMEL in which the pictorial composi- 
tions are executed on the smooth plate. 


This latter type came into use only towards the end 
of the XVth century when the discovery was made that 
enamel could be fused on a metal plate without the 
retaining wall and that another layer of enamel could 
be superimposed and fused to the first. In most 
of these enamel paintings the subject was laid in 
with white upon a dark background. Towards 1520 
the GRISAILLES appeared; they were obtained by a 
first layer of dark enamel on which the design was 
worked in white and finally retouched, reinforced, 
gilt or otherwise. 


The origin of the painted enamel is doubtful and 
several points in the history of the art remain very 
obscure. The information regarding this technique of 
enamelling is only precise, dating from Nardon Peni- 
caud, who was probably the earliest painter in enamel. 
Pie -worked at Limoges from 1493 to 1513. The 
most distinguished follower of this artist 1s Leonard 
Limosin who excelled in portraiture. It is at this 
time that regular dynasties, from father to son, pro- 
duce these Limoges Enamels during three centuries. 
The family of Jean Penicaud, Jean Court de Vigier, 
Pierre Raymond and Pierre Courteys are all great 
names of artists who excelled in this art. Pierre 
Raymond was head of a group that rivaled the Peni- 
cauds. Jean Court de Vigier is supposed to have 
been a pupil of Limosin. His drawing was strong 
and had a great elegance of treatment. Jehan Cour- 
teys, who died about 1586, is probably the artist who 
signed enamels “I. Curtivs” and “I. C.” 


[179] 


LIMOGES XIIIra CENTURY 


No. 85. CHAMPLEVE RELIQUARY 
Height, 634 Inches; Length, 111% Inches; Width, 4 Inches 


On the cover in raised figures are three angels en- 
closed in circles. There are two similar ones on the 
front of the reliquary. The chasse is of brass with blue 
enamel on the front and polychromed in the back. On 
the right end is the figure of St. Paul holding book and 
sword, while on the left end is St. Peter with the key. 

Former Collections: Church of the Jesuits in 
Prague; Prince Lichtenstein in Vienna. 


Lent by Colonel Michael Friedsam. 


LIMOGES XIIItH CENTURY 


No. 86. ENAMELLED PasToORAL STAFF 
Height, 12% Inches 


There is a criss-cross of brass in which blue enamel is 
inlaid and scale like projections on the curved end of the 
staff to represent a dragon. In the circle formed by the 
end of the staff is the scene showing Archangel Michael 
slaying a dragon. This staff, which is of enamelled 
Champlevé Brass, comes from the collection of Baron 


Leopold Goldschmidt, Paris. 


Lent by Colonel Michael Friedsam. 


[180 ] 


LIMOGES XITItH CENTURY 


No. 85. 


= 


No. 86. | LIMOGES |XIIIrw CENTURY 


FRENCH XVrH CENTURY CIBORIUM 
No. 87. Height, 15 Inches; Width, 9 Inches 


The ciborium is of chiselled silver with painted 
enamels. On the base are the symbols of the evan- 
gelists, St. Mathew, St. Mark, St. Luke, and St. John. 
On the square pillar which rises from the base are the 
figures of other saints among whom are St. Peter and 
St. Paul. On the top of this pillar is the ciborium, the 
sides of which have three small enamels of saints. On 
both sides of the ciborium are two small figures in the 
round, holding candlesticks. 

On the top of the ciborium is a miniature figure of 
Christ as Salvator Mundt. 


Lent by Colonel Michael Friedsam. 


NARDON PENICAUD 
(Active 1493-1513) 


Narpon PeEnicaupD 1s the first, according to our in- 
formation, who painted enamels. There is in the 
Cluny Museum in Paris a painted enamel by that 
artist dated 1503 and signed by him. This is the only 
Limoges enamel signed by Penicaud which has come 
down to us. Most of the Limoges artists who followed 
him were his pupils. The most distinguished of these 
followers was Leonard Limosin. 


No. 88. Juno CHARGES. THE Fury ALECTO™=7e 
TROUBLE THE TROJANS 


Height, 9 Inches; Width, 8 Inches 


The subject of this composition is taken from the 
legend of Troy. In a landscape dominated by a 
chateaufort, Juno naked, her hair hanging over her 
shoulders with a headgear in a form of small currets, 
is seated in a large architectural stall. 

Below, in front of her, a head of a dragon coming 
out of the ground, spouts out through flaming jaws the 
first and most ferocious of the three furies, Alecton, 
with spread wings and hair of vipers and dressed in a 
gold striped robe. 

From the Collection of Baron J. Vitta, Paris. 


Lent by Mr. Fules 8S. Bache. 
eels 


Y 


Vru CENTUR 


FRENCH X 


No. 87 


NARDON PENICAUD 


No. 88. 


LEONARD LIMOSIN 
(About 1505—About 1577) 


LeonarpD Lrimosin is supposed to have studied 
under Nardon Penicaud. At the beginning of his 
career we find that he was very much influenced by the 
German School and more specifically by Albert Durer. 
His first known work, signed with the initials Z.Z., are 
eighteen plaques after Durer. In 1530 he entered the 
services of Francis I as painter and valet de chambre, 
which positions he retained under Henry II. His last 
known work bears the date 1574. 


No. 89. DIANA WITH A DEER 
OVAL PLAQUE 


Height, 11% Inches; Width, 8% Inches 


Diana stands in the foreground nude. In her left 
hand is a bow, while in her right hand, which is held 
over her left shoulder, is an arrow. Beside her a deer 
is standing. In the background a stag hunt is in 
progress. On the left is a castle. 

This plaque comes from the Spitzer Collection, in 
Paris, No. 481 of the catalogue. 


Lent by Mr. Fules S. Bache. 


No. 90: Francis I 
7 Inches Diameter 


The King is represented wearing a black toque 
trimmed with a white feather. On his slashed doublet 
may be seen fleurs de Lis and the crowned F: Under 
the doublet, appearing through the slashes, is a white 
embroidered shirt. Over the doublet is a dark brown 
fur garment. This is one of the many portraits in 
enamel that Leonard Limosin executed for his master. 
This plaque comes from the Spitzer Collection in Paris. 


Lent by Mr. Fules 8S. Bache. 
[ 184] 


No. 89 LEONARD LIMOSIN 


No. 90. LEONARD LIMOSIN 


LEONARD LIMOSIN 


No. 91. MARGUERITE DE NAVARRE 
Oval. Height, 6% Inches; Width, 5% Inches 


The pale white figure of Marguerite de Navarre is 
turned to the left. On the blond hair is a headdress. 
She wears a high linen gold embroidered collar with 
ruffles; her corsage is black with gold embroidery. A 
thin gold chain with a pendant falls around the neck. 
The background is blue-black with gold dots. The 
plaque is of painted enamel. 

Former collections: 

M. Denon, Paris. 

M. Magniac, Paris 

J. P. Morgan, New York. 

Exhibited at the Metropolitan Museum of Art, New 
ty orks: 


Lent by Colonel Michael Friedsam. 


[ 186 ] 


N 


LEONARD LIMOSI 


. 


No. 91 


LEONARD LIMOSIN 
(About 1505—About 1577) 
No. 92. Henry D’ALBRET, KING oF NAVARRE 
Height, 8% Inches; Width, 5% Inches 
The portrait shows the King dressed in black 
wearing the insignia of the Order of Saint Michael. 
On his head is a toque trimmed with a single white 
feather. It is painted in various colors on a blue back- 


ground. It 1s signed L. L. 1561. Henry d’Albret was 
the grandfather of Henry IV. 


Lent by Mr. Fules S. Bache. 


LEONARD LIMOSIN 
(About 1505—About 1577) 


No.93. PortraiT oF GaLioT DE GENOUILLE, 
COMMANDER OF THE ARTILLERY OF 
Francis [. 


Height, 9 Inches; Width, 67% Inches 


The portrait shows a man with blond mustache 
and hair, and blue eyes wearing a black four-cornered 
hat and a black circular collar which falls on a white 
coat. The background is dark blue. The face is very 
delicately executed. 

Former Collections: 

Baron Arthur de Schickler, Paris. 

Comte Hyde Pourtales Paris 
Exhibited: Palais Sagan, Paris, 1913, No. 244. 
Catalogue-de-luxe, Pl. LV. Illustrated in “Les Arts”, 
September, 1913, page 32. 


Lent by Mr. Fules S. Bache. 


[188 ] 


No. 92, LEONARD LIMOSIN 


No. 93. LEONARD LIMOSIN 


LEONARD LIMOSIN 
No. 94. aie Pad a Wb) 
Height, 5¥% Inches; Width, 5% Inches 
In his right hand he holds a book and in the left, 


resting on his shoulder, is a sword. At the base of the 
sword shaft are the initials “L. L.”—Leonard Limosin. 
He is dressed in a blue garment with a green cloak 
thrown over it. The plaque comes from the Marquis 
Peruzzi dei Medici Collection, Florence. 

Exhibited at the Ba/timore Museum of Art, Novem- 
ber, 1926. 


Lent by F. Kleinberger Galleries. 


JEAN PENICAUD 
(XVIth Century) 
INGeE > ADORATION OF THE CHILD 
Height, 7 Inches; Width, 6 Inches 


The Child is lying on His back on a wooden box. 
On the left is the Virgin, and beside her is the head of 
the kneeling donkey. The Virgin is dressed in a dark 
reddish gown and has over her head a white shawl 
which falls over her shoulders. On the right, St. 
Joseph is kneeling holding a staff in his hand. Over 
the group three angels are singing and hold a scroll 
of parchment. Although the scene 1s obviously sup- 
posed to take place in a hut or shed, as the cattle 
would indicate, we find a fine architectural composi- 
tion as a background. On the left are a number of 
columns and pilasters, and in the center a landscape 
with golden stars can be seen through a stone arch. 


Lent by Mr. Fules 8. Bache. 


[190] 


No. 94. LEONARD LIMOSIN 


No. 95. JEAN PENICAUD 


JEAN PENICAUD 
(XVIth Century) 
No. 96. THe ANNUNCIATION 
Height, 6% Inches; Width, 5 Inches 


Jean PeENnIcAUD came from the family of Nardon 
Penicaud and was one of his followers. —The Annuncia- 
tion is treated in the conventional manner. The Virgin 
is kneeling in front of three lilies which are in a vase 
and turns her head towards the angel who is standing 
back of her. The angel wears a red cassock over a white 
gown; the wings are green and the hair yellow.. Above 
the angel is God the Father surrounded by clouds; 
while below, above the Virgin, is the Holy Ghost in the 
shape of a dove.: In the background is a couch with 
green draperies and a red cushion. 


Lent by Mr. Fules S. Bache. 


PIERRE RAYMOND 
Nom. Mars, VENUS, AND CUPID 
Height, 7% Inches; Width, 6 Inches 


On the left on a couch is the purple draped figure of 
Venus. Beside her stands Cupid holding a bow, and 
sitting at the foot of the couch is Mars dressed in 
armor. 

On the back of the plaque is the inscription “P. R. 
Limoges 1559” which is the signature of Pierre Ray- 
mond. 

Exhibited at the Baltimore Museum of Art, No- 
vember, 1926. 


Lent by F. Kleinberger Galleries. 


[192] 


No. 97. PIERRE RAYMOND 


MASTER OF THE AENEAIDE 
(Early XVIth Century) 


Marquet DE VaAsseELorT attributes these four plates 
to the Master of the Aeneaide and states that they 
date from between 1525 and 1530. The subjects are 
copied after the woodcuts executed by Sebastien Brant 
illustrating the Aeneid published by the printer Johann 
Gruninger of Strasbourg at the beginning of the 
XVIth Century. 


No. 98. AENEAS FLEES FROM TROY WITH ANCHISES, 
CREUSE AND ASCANIUS 


Height, 9 Inches; Width, 8 Inches 


Aeneas is shown carrying his father, Anchises, on 
his shoulder and holding his son Ascanio by the hand. 
Behind him, on the left, is his wife Creuse accom- 
panied by a servant. In the background Troy is seen 
in flames. 


From the Collection of Mr. fFules Porges, Paris. 
Lent by Mr. Fules S. Bache. 


No. 99. AENEAS OFFERS. SACRIFICES TO THE GODS 
BEFORE THE [Toms or His FATHER AT 
DREPANUM 


Height, 9 Inches; Width, 8 Inches 


On the ground, lying at the right of the group con- 
sisting of Aeneas, Ascanio and Acates who are stand- 
ing in front of the altar, is a goat and a bull ready to be 
sacrificed. Above and at the right of this scene is the 
ocean and a galley at anchor. On the altar are several 
bowls of wine ready to be poured on the ground by 
way of libation to Bacchus. A snake gliding over the 
altar tastes the banquet. Alcestes, King of Sicily, is 
with Aeneas near the tomb. 

From the Collection of Mr. fFules Porges, Paris. 


Lent by Mr. Fules 8. Bache. 


[194] 


No. 98. MASTER OF THE AENEAIDE 


No. 99. MASTER OF THE AENEAIDE 


MASTER OF THE AENEAIDE 
No. 100. ComBat oF ENTELLIUS AND DARES 
Height, 9 Inches; Width, 8 Inches 


Entellius and Dares are in the center of the compo- 
sition, each holding a club or caestus. At the foot of 
the tree, behind the fighters, are two swords which are 
the prizes to the winner. On the left, behind Entellius, 
stands Alcestes, King of Sicily, with a sceptre in his 
hand. On the other side, behind Dares, stand Aeneas 
and his son, Ascanio. The whole group is dressed in 
costumes of the XVIth Century. In the background 
is a castle. 


From the Collections of Mr. Magniac and Mr. Fules 


Porges, in Paris. 


Lent by Mr. Fules S. Bache. 


No. 101. Turnus, Kinc oF THE RUTULES 
Height, 9 Inches; Width, 8 Inches 


Turnus, King of the Rutules, is seen in front of 
Troy about to meet his rival, Aeneas. After having lost 
two battles to Aeneas he agreed to a hand-to-hand 
fight with him, and the prize of the fight was to be the 
daughter of King Latinus, Lavinie. Turnus was kill- 
ed in that fight. 

King Turnus is shown in this composition, on 
horseback in the middle of the river, outside the walls 
of Troy. On the battlements soldiers are seen. The 
costumes are of the X VIth century style. 


From the Collection of Mr. Fules Porges, Paris. 


Lent by Mr. Fules S. Bache. 


[196] 


No. 100. MASTER OF THE AENEAIDE 


No. 101. MASTER OF THE AENEAIDE 


JEAN LIMOSIN 
(1528-1610) 


Jean Limosin was a brother of Leonard Limosin, 
who was the most famous of a family of seven Limoges 
enamel painters. 


No. 102. Emperor Marcus AURELIUS 
10% Inches in Diameter 


Marcus Aurelius is here represented riding on 
horseback in a statuesque manner. The horse stands 
on a pedestal and towers over the surrounding land- 
scape. The Emperor is dressed in the classical cos- 
tume, the foga. 

This circular plaque enhanced with gold is a very 
fine example of the grisai//e type of enameling. 

Former Collection: John Pierpont Morgan. 

Exhibited in the Metropolitan Museum of Art. 


Lent by Mr. Fules S. Bache. 


PIERRE COURTEYS 


No103 ENAMELEED COFFRET 
Length, 9 Inches; Height, 8 Inches; Width, 5% Inches 


The coffret is of gilded silver and has on all sides in 
painted enamel scenes of the life of Joseph. On the lid 
is a small gilded handle. In the four sides of the coffret 
are thin decorative columns. This Limoges Enamel 
dates from the X VIth Century. 

Former collections: 
M. Frederici@sSpitzemebariss 
Baroness Mathilde Rothschild, Paris. 


Lent by Colonel Michael Friedsam 
[ 198 ] 


No, 103. PIERRE COURTEYS 


SUZANNE DE COURT 
(XVIth Century) 


No. 104. Ecce Homo 
Height, 10 Inches; Width, 8 Inches 


Christ with a green crown of thorns is standing on 
the right with His hands tied before Him. He wears a 
dark reddish-brown cloak over His shoulders, while 
around His waist is a white drapery. A soldier, stand- 
ing in back of Christ, holds the cloak open so as to 
show the people before him the tied hands. 

Pilate stands to the left of Christ and is addressing 
the people. The background consists of a Renaissance 
palace which represents the Temple. On the left is a 
green forest in the middle of which is a castle design- 
ed in gold. The initials S. C. are in the upper eis 
hand corner. 

From the Fanien Collection in Paris. 


Lent by Mr. Fules S. Bache. 


JEAN COURTEYS 
(X VIth Century) 


Nos) 1052 THE CRUCIFIXION 
Height, 9 Inches; Width, 7 Inches 


This scene is represented in the usual manner. 
Soldiers on horseback holding spears surround the 
three crosses. On the right and left of the crosses are 
the sun and the moon. In the background is a town 
with battlements above which rise the roofs and spires 
of churches. 


Lent by Mr. Fules §. Bache. 


[ 200 ] 


INDEX 


AMIENS SCHOOL orf asour 1480 
AVIGNON SCHOOLS of tHe XIVru 


AND XVTH CENTURIES 
BELLEGAMBE, Jean 
BOURDICHON, Jean 
CLOUET, Francois 
CLOUET, JEan 
COURT, Suzanne DE 
COURTEYS, Jean 
COURTEYS, Pierre . 
FOUQUET, ean : 
FRENCH SCHOOLS or THE reves and 


XVItH CENTURIES 
LIMOGES, Osjecrs Or Art 
LIMOSIN, Jean . 
LIMOSIN, Leonarp . 

LYON, CorNEILLE DE 
MALOUEL, Jean 

MARMION, Simon . 
MASTER OF THE AENEAIDE 
MASTER OF MOULINS . 
ORLEANS, Jean D’ 
PENICAUD, JEan 
PENICAUD, Narpon 
PERREAL, Jean 

RAYMOND, Pierre . 
SCULPTURES AND BRONZES 
SOUTHERN FRENCH SCHOOL 


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